Sentimental Waltz . Three Pieces for Piano . Arabesque in G minor . Here and There and Everywhere . Swirling . Last Days of Summer . Allegro in G . Chanson mélancolique . Bourrée in A minor . Parade of the Waddling Geese . Gavotte in A . Six Etudes
Duets, Duos, and Chamber Music:
Five Waltzes (Piano Duet) . Canon in D & Jolly Old Saint Nicholas for piano, cello, and two violins . Bourree in D minor (Piano Duet) . Concertino in A minor . Lament for Viola and Piano
(Intermediate) Two pages, Level 6-7
(Early Intermediate) Two pages, Level 5
(Intermediate) To be played leisurely, with a bit of melancholy. Key of A flat major, and despite being in 4/4 time it needs a certain lilt. Two pages, Level 7
(Late intermediate / early advanced) Romantic piano solo; showy recital piece. This waltz follows the tradition of the 19th century German Salonstück (parlor piece): entertaining, showy, and a bit over the top. It is romantic at its heart, lyrical, and at times passionate. Four pages, Level 8
(intermediate – early advanced):
I. Piacevole (intermediate) Pleasing, pleasant, smiling, playful, scampering along without much sense of urgency. Doesn’t require advanced technical or reading skills other than being familiar with reading and playing in the key of A flat. It does require the ability to play very evenly though – nothing bumpy in this piece! Three pages, Level 6.
II. Agitato (early advanced) Like a wildly spinning top that only twice comes to an abrupt stop, the A section pressing forward, unforgiving, the B section playful and light, this needs to be played “Allegrissimo” which is very fast but with a different character than Presto. It requires a well-developed technique that can handle RH passage work with ease. Four pages, Level 8, due to the very fast tempo.
III. Fantasia (early advanced) Starts very sweet and gentle, softly like a Nocturne – though without the lilting character – but quickly changes character, several times, before developing into a fff coda-like ending which after just a few measures disappears into nothingness. Key changes and chromatic writing as well as unexpected harmonic shifts make this piece potentially not easy to read. However, rhythmically it is uncomplicated, and technically, everything fits the hands very well. What this piece requires is a well-developed sense of flair and an intuitive ability to create drama and suspense, both with touch and timing. Six pages, Level 8.
IV. Fugace (late intermediate) Note-wise identical to the first piece, Piacevole, but played much faster, in a fleeting manner, flying away. Needs an extremely light touch. Level 7, due to tempo and the need for subtle shading.
(Intermediate) Light, gently swaying, twirling around itself, ever so slightly melancholic. Of the performer it requires the ability to play a quick written-out quintuplet turn in the right hand which occurs numerous times throughout the piece but is the same every time. A few left hand arpeggiated 3-note chords in wide position require a flexible wrist. The performer needs a delicate but not wimpy touch and a mature feel for subtle shading. Three pages, Level 7
(Intermediate) Fits the hands well but requires a strong reader who can handle the frequent modulations with ease. Three pages, Level 7.
(Intermediate) Two pages of whirling dervish for intermediate piano. Left hand has staccato eighth notes, right hand almost continuous sixteenth notes passagework, fits a small hand particularly well as there are only two instances of an interval of a seventh. Flashy, dramatic if not particularly profound. Two pages, Level 7.
(Intermediate) Uncomplicated and cheerful in Classical style.
Three pages of predictable harmonies, LH Alberti Bass, RH scale passages.
The reading level – both notes and rhythm – is Early Intermediate, but the tempo may require an Intermediate pianist who can handle the quick Alberti Bass pattern and RH scale passages with ease. This piece may work well for a student with fast fingers who is not a particularly strong reader. Three pages, Level 7.
(Early intermediate) It’s a waddle, deliberate, with somewhere to go, happily, kind of like a toddler on a mission, but not toddling. Waddling. Straight forward, to be played with good humor, and a smile. One and a half pages, Level 4
(Early Intermediate) Other than reading and playing in the key of A major, there are few challenges in this piece: the rhythm consists of quarter, eighth, and half notes, the only accidental is D sharp. Eighth note patterns are scale fragments, ascending in the left hand, descending in the right hand. When the hands move, it is along with the melodic pattern. While most measures have eighth notes, they never happen in both hands at the same time. The most difficult aspect is counterpoint in Baroque style: quarter notes are to be played staccato, eight notes legato, usually both at the same time. An excellent preparation for this Gavotte would be the Gavotte in D major by James Hook: it trains counterpoint playing but the hands never move. One page, Level 5
Etude No. 1 in C major (late elementary – early intermediate) Broken thirds and three-note gestures. The lyrical middle section requires a more expressive touch, and horizontal thinking to keep the melody moving forward. Two pages, Level 3.
Etude No. 2 in C major (early intermediate) The purpose of this short early intermediate etude is to work on a healthy technique for using the fourth finger. There is no need to “strengthen” the fourth finger, or subject the student to so-called “isolation” exercises, but it is necessary to understand how a healthy technique is needed to play effortlessly and effectively. Students who struggle with fourth finger issues usually do so because they attempt to pull the key down, and their wrist is too low. The fourth finger then tends to bend in the last joint, and there is much unnecessary tension inside the hand and in the wrist, resulting in discomfort and uneven tone. No amount of finger exercises will improve fourth finger issues unless they are practiced with a healthy technique. Because of the frequent use of patterns, this etude can easily be taught by rote which allows for the focus to be on technique which is to be understood as the study of motion. One page, Level 3.
Etude No. 3 “Perpetuum mobile” in D minor (intermediate) Prestissimo. The purpose of this three-page intermediate etude is to show off how fast you can play. The student needs to be familiar and comfortable with moving freely and at times quickly around the keyboard, and be familiar with playing broken chords in D minor (and its relations ) and F# minor. Other than speed, there is not much going on in this etude, so a student with a sense for flair and drama will be better suited to avoid making it sound too mechanical. Three pages, Level 7, due to the fast tempo.
Etude No. 4 “Carousel” in F major (intermediate) F major. Study in one-octave arpeggios and arpeggiated inversions. The expressive middle section in D flat may pose a challenge for students who are not yet comfortable reading and playing in D flat. Three pages, Level 6-7.
Etude No 5 “Tarantella” in E minor (early intermediate to intermediate) Focus on right hand scales, left hand mostly blocked chords. Three pages, Level 6
Etude No 6 in G major (early intermediate) Focus on arpeggios, one page, Level 3-4.
(Earliest beginner) A waltz for young beginners, best taught by rote, arranged five different ways with duet parts.
(Intermediate) I personally prefer the version for viola and piano because the tone quality of the viola fits the character so well. The cello may be a bit too powerful?
for two violins, cello, and piano
(Intermediate) This is an arrangement for Piano Duet of the first movement of the Concertino in A minor.
CONCERTINO in A minor
(Mid-intermediate, Level 5-6):
II. Lullaby (no mp3)