BAROQUE

1. Bach, J.S.

Bourree in E Minor
Take 1 repeat ONLY
st

The Baroque Spirit, Book 2 (Alfred: 16719) p. 28-29

I like Quarter Note= 138-152
French duple-meter dance with an upbeat
18th Century theorists described the bourree as
light-hearted and joyful dance.
Taken from Suite in E minor for Lute (BWV 996),
there is an original manuscript that is notated for
lute-harpsichord. I would suggest listening to
some recordings on lute or guitar. There are
many recordings on YouTube.
Independence of hands is needed for different
articulations. Decision needs to be made on how
to articulate the LH quarter notes. How would a
continuo cello play it? For the suggested slurs in
both hands, one has to make a decision on how
to interpret these. I prefer to think of the start of
a new slur in the same way we use consonants
in language; they separate sounds but still allow
movement to flow through. If there is big break
between each slur, for me it sounds too disjunct.
I personally would change dynamics/inflection on
the repeat.
Measures 9-15, I like to highlight the dialogue
which is happening in the RH. Particularly in m
13-15.

 I start ornaments above the main note. A couple

of different ways to interpret the trill in M. 15:
Sit on the b and then trill, or let the trill flow
right away. Sometimes a student will find it
easier to get a faster trill by slightly lingering on
the first note and then move through it.
Measures 20-23 makes clear use of melodic
minor.
For further research:
o Badura-Skoda, P. Interpreting Bach at the
Keyboard
o Little, M. and Jenne, N. Dance and the Music
of J.S. Bach

2. Scarlatti, D.Aria in D Minor, K. 32

Take Repeats
Essential Keyboard Repertoire, Vol. 8 (Alfred: 4619)
p.12-13 THIS EDITION ONLY
I like somewhere between 60-80 for the eighth
note
To me the tempo marking Allegretto seems too
fast. Perhaps it means not Allegro. The vocal
quality inherent to the piece, along with the style
of writing to me suggests a slower, more
thoughtful tempo. There is a recording of Gilels
playing it on YouTube and his tempo may be a bit
too slow. He plays it around eighth note = 46.
Since this is an Aria it must a have a vocal
quality. One could think of it as the RH is the
soprano and the LH is the lute. The melodic line
needs to be clearly projected and phrased just
like an amazing opera singer. Since the LH lute
part doesnt do much, this would give the singer
room to ornament and play around
Suggested dynamics are alright. I prefer to
change the dynamics on the repeat for artistic
interest
Technically not a very difficult piece but the
music is difficult. It will show if the student is
listening and reacting to the music; there is not
much to hide behind
I would suggest rolling the LH chords in
measure 1, 3, 5, 9, 11, 17, 21.

 The suggested way of doing the trills are okay

but they feel a bit bland to me. There needs to
be a bit more freedom and feeling within the trill.
It is not just a trill, but an emotion. If one does
the trill as suggested make sure they have
dynamic and rhythmic shape so they dont
sound square
For ornaments in RH (on repeats) I like
doing:
m. 5 beat 3 start trill on D (upper note)
m. 10 beat 1 appoggiatura from below A-Bb
m. 12 beat 1 appoggiatura from below G-A
m. 14 beat 2 and 3 appoggiatura from above
G-F, F-Em. 17 beat 3 trill starting on upper note with
exit Bb-A-Bb-A-G-A
m. 18 beat 1 appoggiatura from below A-Bb
m. 19 beat 3 trill starting on upper note with
exit D-C#-D-C#-B natural-C#
m. 20 beat 1 appoggiatura from below C#-D
m. 21 beat 3 trill starting on upper followed
with portamento F-E-F-E, D-E-F-G-A
m. 23 beat 1 filled in as quintuplet (E-F-G-F-E),
m. 23 beat 3 trill starting on upper note D-C#D-C#-B natural-C#
m. 24 beat 1 appoggiatura from below C#-D,
placing the D on beat 2
It would be beneficial for a student to listen to
some of the great opera singers singing baroque
music. For instance, Joyce Didonato (Scherza
infida); Cecilia Bartoli (Amarilli mia bella). There

is also a recording on YouTube of Joyce Didonato

singing Amarilli mia bella. A student could do a
comparison listening on how these two artists
used different ornaments. It will help them see
the limitless possibilities and that there is not
one way that is more correct than another
For further research:
o Kirkpatrick, R. Domenico Scarlatti
o Neumann, F. Ornamentation in Baroque and
Post-Baroque Music

CLASSICAL
3. Beethoven, L.
No Repeat

Sonatina in F Major, I. Allegro

Piano Repertoire: Baroque and Classical Level 4

ed. Snell (Kjos: GP604) p. 26-28
Quarter note = 96-104
Many characteristics of Sonata-Allegro form. Theme 1a
(m.1), Theme 1b (m.9), Cadence on V (m.18),
Development (m.19), Recapitulation (m.51) is atypical
because it uses Theme 1b and not theme 1a. Coda
(m.60)
Main challenges are scale passages, Alberti patterns,
big dynamic contrasts
Student given the opportunity to explore characters
found in classical period music.
Overall, what Snell presents is okay but I find it overly
edited. I prefer the Henle or Celebration Repertoire
Book 5
The Snell edition has some questionable slur marks
throughout. In measure 8, Snell slurs all the 16 th notes,
in the other editions they are grouped in pairs. If you
slur all the 16ths together, the character is different
than the one Beethoven intended
M. 2 and 6 (simile) Snell adds Diminuendo marks.
Henle does not have the diminuendo signs. In Henle m.
1 is Forte and m. 3 is Piano. The more extreme contrast
seems to me to be more Beethovenian

 M. 15 Snell omits the Piano mark which is found in

Henle and Celebration
M. 21 and 26 Snell Omits mezzo piano mark which is
found in other editions
M. 43 Snell has a piano mark where the other editions
have Forte
M. 58 Snell starts Diminuendo on beat one where the
other editions have it starting in M. 60. Bringing the
diminuendo in at m. 58 seems to me to take away the
sparkle of this passage.
Make sure the LH is played legato in measures 13-14
and 15-16
The small notes in measures 9-10 can be crushed
(acciaccatura)with the main note
Listen for a light LH thumb in the Alberti patterns and
hear the bass line have a dialogue with the RH in m. 3,
7, and similar spots

4. Dussek, J.L.
Movt

Sonatina in G Major, Op. 20 No.1

1st

Sonatina Album, ed. Small (Alfred: 1710C) p. 44-45

Quarter note = 104-116
Sonata Allegro Form
He was considered to be the first virtuoso who could
produce a true singing tone on the piano. He was also
credited for turning the piano sideways for
performances to show off his profile.
I prefer the Celebration Repertoire Level 6 edition.
Celebration edition is larger print and spread over 2
pages. The Small edition seems a bit too compressed
and I find it difficult to read.
There are some differences in editing between the
Small and the Celebration:
o M. 2: beat 1 Small has rest in LH thumb,
Celebration has G Octaves
o M. 3 beat 2 Celebration has RH G grace note,
Small has no grace note;
o M. 7 the and of 1 Small has accent on RH B,
Celebration no accent
o M. 17 Celebration has piano marked and stays
piano to m. 25. Small has hair pins with ascending
and descending line and a crescendo starting in M.
19 continuing to Forte in M. 21.

o M. 21 Small has it marked Forte with Diminuendo

to pianissimo at 23. Celebration stays piano.
o Articulation is quite different between the editions
at m. 21-25: Small has eighth note slurred to
dotted quarter; Celebration has staccato on the
eighth note.
o I would suggest marking any changes that
student decides to do in the judges copy of
the score.
Main technical challenges: the Alberti patterns, scale
passages, balance between the hands, and dynamic
changes. Some of the LH passages are a little awkward
(m 32-33)
LH Alberti bass patterns will have a tendency to
dominate. Keep LH light so the RH melody can always
be heard.
Student given a chance to explore thinking in an
orchestral way. Tutti vs. section or soloist. Another good
spot to create/imagine different instrumental sounds
would be m. 21-25.
The RH double thirds may need some extra attention.

5. Haydn, F.
Vivace in D Major, Hob. I:92/4
Take Repeat
Essential Keyboard Repertoire, Vol. 8 (Alfred: 4619) p. 50-51
Quarter Note= 126-144
This has all the humorous qualities one expects from
Haydn.
Difficulties are quick changes in articulation (between
staccato and two-note slurs) and using the dynamics to
highlight the register changes.
This is a great piece to help a student get a buoyant,
light and sunny sound. In the B section there is a
dramatic change. I think of this more as a pretend mad
or teasing rather than a true feeling of being upset.
Care needed when thumb plays the last note of 2-note
slur. There will be a tendency for it to be accented
because of the jump right afterwards. (m. 2 and similar
spots)
M. 15 LH is slightly awkward and will need some
attention.
M. 16 I prefer using fingering 5-3-2-1 so it matches the
fingering in m. 17

 M. 18 beat 2 will need to be set up in a way that the

forte doesnt carry over into the piano marking.
Finesse needed to craft the transition back to the A
section (mm 24-29).

ROMANTIC
6. Grieg, E. Puck Op. 71 No. 3
No Repeat
Applause, Bk. 1 (Alfred: 2537) p.36-38
Tempo is always an issue with this piece. Students have
tendency to start very fast and then have to slow down
as they go. I would error on a more moderate tempo
that allows the student time to craft the character
rather than just be fast and uneven.
Half-note= 120-138
Care is needed to make sure that the thirds sound
exactly together and not rolled
Practice blocking the chords to assist students with
measures 11-14 and similar spots. G-Flat major, D-Flat
Major, C-Flat Major, G-Flat Major
Isolate the chords in m. 25-32 so student understands
its the same chord but different inversion on each
group.
Pickup to measure 33 the patterns changes: it is shorter
gesture that is repeated 4 times.

 M. 33-36 the 2nd beat now has accent in LH

You could divide the broken octaves in measure 19-20
and 78-79 between the hands. RH plays Bb-F-Bb, LH
crosses over plays Bb-F-Bb, and RH crosses plays Bb-F
and Chord.

7. Lichner, H.
Sonatina in G Major Op. 66 No. 3, 3rd
Movt (Rondo)
Take Repeat, D.C. & Coda
Three Sonatinas, Op. 66 (Kjos: GP427) p.22-24
This is reminds me very much of Schubert dance so I
prefer it Quarter Note = 88 but anywhere from 84-96
would be appropriate
A couple tricky spots with repeated notes. I dont use
the suggested fingering. In measure 3, I use finger
number 3 on the downbeat rather than the suggested
number 4. I think this will create a bit clearer sound and
will also not slow down the gesture. In measure 3 my
RH fingering is 3-2-3-2-3-4 and 2 on beat 1 in m. 4.
Whenever there are pieces with repeated notes (and
the fingering changes), I have my students isolate just
the two notes.
For the blocked chords, I suggest a slight wrist staccato
with firm fingertips to help with the lightness but also
with hearing each note.

 Temptation will be to ignore the rests in the LH in m. 10,

12, 16, 20, 29
The Coda needs some attention because with the page
turn students will have a tendency to get the LH
backwards. Meaning the will play A and C to the
pickup to measure 33.
Appropriate piece for small hands

8. MacDowell, E.
4 No. 1

Sung Outside the Princes Door, Op.

The Romantic Spirit, Bk. 2 (Alfred: 4639) p.56-57

Musically challenging piece due to voicing, pedaling,
key signature (G-Flat Major!), imitation, and dynamic
control.
I like it on the slower side, quarter note= 56-66
If I had student playing this, I would also have them
play Puck (and vice versa). Then the key signature
wont be such a big deal. Plus it is such a great contrast
between the two.
I would first have students learn the melody lines
throughout focusing on sound and listening through the

line. Thinking as a singer or wood wind player. One

could also mark breath marks throughout the score.
After working on the melodic lines, I would work on the
accompanying voices. Listening to how the harmony
supports the melody. The chordal material makes up
the entourage that follows the singer.
There are some big stretches in the piece so the
student would either need to have large hands or be
able to use careful pedaling while they break some
chords.
At the end there are two gorgeous rolled chords. Make
sure to listen through the top note A-flat so that one
hears it being pulled towards the resolution on G-flat.
This hanging on to the A-flat in your head will make the
pedal change appear seamless.
This is a musically more difficult piece, especially when
played at a slower tempo. This (like the Scarlatti) will
show the artistry that the student has inside .

CONTEMPORARY
9. Alexander, D.

Violetta

A Splash of Color, Bk. 2 (Alfred: 269) p. 5-7

Quarter note = 120-132
Dennis Alexander told me that I always uses a lot of
color imagery in my teaching and find that technique
and touch can so often be enhanced with thinking in
terms of colors
Dennis said that Violetta is more subdued in nature and
should have a warm tone

 Careful counting is needed in measures 2 and 4 (and

similar spots). Students will be tempted to compress
the 2nd beat into just two eighth notes the LH E-flat
needs to be held for 2 eighths before the RH chord
enters on the third.
The opening RH motives I found myself naturally
playing 1-2-4 instead of the suggested 2-3-5
The only real difficulty is the rhythm in this piece. Once
the student really understands where the beats are the
rest of it will fall into place quite easily.
Listen for a projected line of the melody, do not let the
LH rhythmic interest take the spotlight
In measure 38, have the student keep the A melody
note singing in their ear so the resolution of that line
goes to the crossed-over F in measure 39.

10.
Baumgartner, E.
D.S. & Coda

Arettas Rhumba

Take

Jazz Connection-Seven Jazzy Solos, Bk. 3 (Willis: 12625) p.

13-15
Half note = 66-72
Cuban inspired Rhumba. For inspiration listen to Chick
Coreas Armandos Rhumba. There are several versions
on YouTube. Listen to one with his full ensemble and
there is one him playing it as a piano solo. Another
group to listen to would be Buena Vista Social Club.

 I like to bring out the percussive aspects of the Cuban

rhumba by detaching LH and even the RH in m. 1-8 and
similar spots.
Characteristic rhythmic pattern in Cuban music is the
clave. Clave is a pattern consisting of two rhythmic
figures that have a tension-relaxation relationship.
Clave rhythm is held together by a half-note pulse. The
pulse is very important because it maintains the
stability of the clave.
Careful attention to phrasing in m. 9-16. Students will
tend to phrase m. 11-12 into one phrase.
M. 16 and M. 40 beat 2, I like to think of it as being a
little growly
M. 24 beat 2 to downbeat of 25 some possible
fingering: 5-3-2-1-2 OR 5-2-1-2-3
Dynamics really will need attention as that will really
make this piece gain even more interest for the listener
(and performer!).
The trickiest part of this piece is the rhythm. Students
will catch on pretty fast to the rhythm. Its pretty
straight-forward and not all that artistically challenging
for the student.
For further research:
o Mauleon, R. Salsa Guidebook for Piano and
Ensemble (Sher Music Co.)

11.

Hartsell, R.

Storm Etude

Romantic Etudes-Early Intermediate (Willis: HL00416879) p.

20-23
Con Moto section quarter note = 126-144, Moderato
section quarter note =80-92

 Overall a straight forward piece that has a melodic

middle section.
The A section has traces of a Heller or Burgmuller Etude
but simpler in technique. Students will have a tendency
to rush through the RH triplets and will become a bit
sloppy. I would suggest first practicing the chords
blocked, then in different rhythms and then as written.
Balance will be an issue in the A section. Students will
most likely play the RH too loud and will drown out the
actual melody which is in the LH.
The LH melody will need to have dynamic inflection as
it can sound quite square if not handled carefully.
M. 18 fingering suggestion 1-2-5, 1-2-5, 1-2-4, 1&5
M. 22-29 particularly awkward writing which makes it
difficult to maintain legato line
M. 22 fingering suggestion for LH. 5-2-1-2-5 (finger sub
to 1)- 2
M.22-37 Make sure beat 3s have some grace to them.
This will give a bit of relief from the square writing of
the A section
M. 46-53 the melody is now LH octaves. These will need
some attention to make sure there is still a shaped line
to them and not just pounded out, and that the student
doesnt get fatigued with this extended octave passage.
Last note of piece, I would suggest student crossing
over with the RH to play it. It will most likely be more
accurate and have a better sound.
Perhaps best for larger hands due to extended octave
passages

12.

Mier, M.

Katys Dance

Jazz, Rags & Blues, Bk 4 (Alfred: 18770) p. 2-3

 Quarter note = 126-138

One will need to swing the 8ths. Remember the swung
eighth note is anticipating the next beat. Relate it to
what comes next rather than what came before
Loose arm is needed. Almost pawing the keys on the
chords.
Exaggerating the dynamics will really help bring more
interest to the piece.
Student will have to have a pretty good sense of
rhythm. If the rhythm is not steady in the LH, the whole
piece will suffer.
Pay attention to the changing LH patterns. A clear
understanding of the harmony will help the student
move hands to correct spot in the allotted time.

13.

Rollin, C.

Danza Cubana

Dancing on the Keys, Bk. 3 (Alfred: 39360) p. 16-19

 Same rhythm as violetta by Dennis Alexander.

Quarter note=152-168
I suggest listening to Cuban pianists Ruben Gonzalez
(he is the pianist for Buena Vista Social Club) and
Chuchu Valdez.
Composer has detailed pedaling that will need some
work if one chooses to follow it.
Varied articulations in the LH (Held notes, tenuto,
staccato)
M. 36-41: student will most likely play LH octave jumps
at first instead of the 10ths. Helping them understand
what chords are formed in the LH will help them
choose the right note.
M. 36-41 LH will need to be carefully planned for
students with smaller hands/stretches
Carefully chosen dynamics and a clear differentiation
between them will really help this piece to be
successful.
Very fun glissando in measure 35. Make sure it is
musically played in the context of what is happening
and not the only thing people remember of the piece.
For further research:
o Mauleon, R. Salsa Guidebook for Piano and
Ensemble

14.

Sprunger, G.

Brookside

Water Music (Kjos: WP1158) p. 3-5

Quarter note = 88-96
Very peaceful piece that will not pose many technical or
artistic challenges for the student
Will need some dressing up to make sure the piece
doesnt sound one dimensional
Some suggestions Una corde m 1-7; m. 7 Tres corde
simile pedaling throughout
Listen for a beautifully projected melody in measure 7
and similar spots
M. 33, remember the LH Ds are on the beat
Last note of piece, I suggest keep firm wrist and firm
fingertip to make sure the sound is heard.
Some attention will need to be paid to the fingering of
the 16th note passages in the RH. A couple fingering
choices would be 4-5-4-3-2 or 3-5-4-3-2
REALLY bring out the dynamic contrasts here. It could
verge on sounding sleepy instead of peaceful.

ORDER OF TECHNICAL DIFFICULTY (Easiest to more difficult)

Baroque:

Scarlatti
Bach

Classical:

Beethoven
Haydn
Dussek

Romantic:

Lichner
Grieg
MacDowell

Contemporary:

Sprunger
Hartsell
Baumgartner
Alexander
Rollin
Mier

ORDER OF ARTISTIC DIFFICULTY (Easiest to more difficult)

Baroque:

Bach
Scarlatti

Classical:

Beethoven
Haydn
Dussek

Romantic:

Lichner
Grieg
MacDowell

Contemporary:

Sprunger
Hartsell
Alexander
Baumgartner
Mier
Rollin