![]() ![]() Again very good recital material for beginners. The interesting thing here is that they use the whole keyboard and introduce patterns that frequently appear in the more advanced pieces, so they are excellent preparatory pieces. A collection of 10 pieces for the complete b eginner, most you can teach at the fir st lesson. Similar in difficulty to the above, this set of pieces uses modern harmonies to tell stories, so it is a very good introduction to how and why chords and intervals can elicit different emotions (for instance, “The spider” uses tritons to build up suspense, and “Bees and Flies” uses chromatic intervals to emulate buzzing). If you are familiar with Kabalevsky’s pieces for children, this is similar. ![]() The whole collection consists of 8 sets of short pieces for complete beginners. The harmonies are traditional, the writing is highly pianistic and they make up excellent recital material. Excellent recital material for the beginners. This is excellent for rhythm development and to introduce the student to old dance patterns (which keep recurring on the piano repertory). These are ten easy pieces, each one covering a dance style on the 18th century. It can also be used as a seed for free improvisation. Excellent for sight-reading, for hand independence, for expressive playing and for bringing up a melody on the left hand. RH play a steady even ostinato using only the note E, while the left hand plays the melody which consists only of ABC i n different orders and simple rhythms. Left Hand Melody Sight Reading Hand Independence Expressive Playing This is for the total beginner, and can be taught on the very first lesson. “Little prelude in Waltz time” can be used to teach both about form and rhythm, “Baroque bounce” likewise can be used to discuss what is “Baroque”, “Echoes of the blues” introduces the blues scales, and “Ragtime doll” is excellent for syncopation. Each can be used both as repertory and as teaching material. 1 i n G m a j o r Form & Rhythm Blues Scales Syncopation More difficult than the one above, they are also more modern in idiom. ![]() 7 in A 1st mvt, Presto 4 7 0 2 A t t w o o d S o n a t i n a N o. 5 Gavotte in B flat 1 1 1 6 6 Arne Sonata N o. 3 in G 2nd mvt, Allegro 1 0 3 5 5 Arne Sonata N o. 2 in E m inor Andante 1 1 8 1 7 Arne Sonata N o. 1 in F 3rd mvt 1 1 1 5 6 Arne Sonata N o. 07 1 0 3 6 5 Arne Sonata in D minor Andante 1 0 3 7 5 Arne Sonata in G minor 1st mvt 1 1 8 0 7 Arne Sonata N o. 1 6 1 1 7 8 7 Arensky Le Couco u 1 1 7 9 7 Arensky Prelude in E major, Op. 26 6 2 0 7 A r e n s k y C o n s o l a t i o n O p. 23 4 8 9 1 A l t H o t N o o n i n t h e M e a d o w I n t r o d u c t i o n t o h o w c h o r d s d e v e l o p e m o t i o n 4 8 8 1 A l t T h e O c e a n P a t t e r n I n t r o d u c t i o n 4 9 0 2 A l t W h e r e t h e p a l m t r e e g r o w s I n t r o d u c t i o n t o c o n t e m p o r a r y m u s i c 6 6 4 U Arensky 24 Character pieces Op. 6 3 1 0 3 4 5 Alkan L'Homm e aux Sabo ts Op.63 No. 4 8 5 2A g a y F o u r p o p u l a r d i v e r s i o n s 4 8 3 1A g a y M y s t e r i o u s P r o c e s s i o n 4 8 4 2A g a y P e t i t T r i a n o n s u i t e 1 2 7 0 8 Albéniz Cádiz (saeta ) 4th mvt fro m ‘Suite Esp añola no 1’, Op 47 1 2 7 1 8 Albéniz En la Playa no 7 from ‘Recuerdos d e Viaje’, Op 71 1 2 7 2 8 Albéniz Evocation From ‘Ibe ria’ 1 1 7 6 7 Albéniz Rumores d e la Cale ta, Op 71 /6 1 1 7 7 7 Albéniz Serenata, from 'Espa ña', Op 165 4 8 6 2A l d e r i g h i S i g n i L i e t i 4 8 7 2 A l e x a n d r o w P i e c e s f o r C h i l d r e n 6 6 3 UA l k a n E s q u i s s e s o p. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |