95871 Comp Showcase Broch - Hal Leonard LLC35102 Comp Showcase Broch 2/21/05 5:07 PM Page 1 BRUCE BERRhas been teaching music to children and adults for over thirty years. He has taught

COMPOSERSHOWCASE

HAL LEONARDSTUDENT PIANO LIBRARY

Excellent Material for:

• Recitals

• Competitions

• Seasonal Enjoyment

• Ensembles and Duos

35102 Comp Showcase Broch 2/21/05 5:07 PM Page 1

BRUCE BERR has been teaching music tochildren and adults for over thirty years.He has taught piano and piano pedagogyin a variety of settings: universities andcolleges, community music schools, andin his home studio. His compositions arefound in the Hal Leonard Student Piano

Library method and solos books, as well as in theComposer’s Showcase and Showcase Solos series. Dr. Berrhas written extensively about the art of teaching piano. Hisarticles have appeared in all of the major piano journals,and he has been an associate editor and webmaster forKeyboard Companion magazine since 1997. He has present-ed lectures and workshops for professional music teachers’associations and conventions throughout the United States.Dr. Berr received his degrees in piano and pedagogy fromWashington University in St. Louis and from NorthwesternUniversity. He and his wife, Jennifer Merry, live in suburbanChicago.

Imaginations In StyleBruce Berr

Late Elementary (Level 3)

00290359/$5.95

Using mildly contemporary soundsand colorful pianistic effects, eachsong in this book is a vibrantsound picture that students will

enjoy bringing to life in performance. While the pieces maybe enjoyed simply for their poetic and music content, theyare crafted in ways that help developing students master themusical and technical concepts needed to play standardimpressionist and contemporary literature. This late-elemen-tary level book features basic 5-finger patterns, easy rhyth-mic patterns (including 8th notes), and simple pedal use.

7 Solos: Blues for a Count • Fanfare • Fiesta March • MountainSunrise • October’s Farewell • Sand Swirls • Whoosh!

FROM THE COMPOSERI enjoy observing and experiencing nature in all its diverseforms. During those times, I invariably end up feeling manythings on a deep level. I hope that some of the variety andintensity of those feelings come through in my music.

Advice for TeachersBefore beginning to work out details of notes, fingeringarticulation, etc., please help the student get an idea aboutthe OVERALL sound, feeling and structure of the music.Also, when there are dynamic changes in the score, evokefrom the student WHY such changes are there: how mightthese relate to the title of the piece? To the sound of theharmonies at that point?

The Inspiration Behind Bruce’s MusicCreating educational piano music allows me to function asboth a composer of expressive music, and as a teacher-by-remote-control! I try to build implied pedagogicalsequences into the motivic patterns and formal structure ofthe music. Hopefully, this lights up the teacher’s path, whileat the same time gives the student music to play that is funand has expressive interpretive possibilities.

BRUCE BERR

Imaginations In Style


1

Explorations In StyleBruce Berr

Early Intermediate (Level 4)

00290360/$6.95

Bruce Berr’s hallmark imaginativestyle is apparent in each of themagical works found in this book.While the pieces may be enjoyed

simply for their poetic and music content, they are craftedin ways that help developing students master the musicaland technical concepts needed to play standard impres-sionist and contemporary literature. This book for the early-intermediate level student continues to expand the musicalpalette of impressionist and contemporary sounds andtechniques through expressive, imaginative piano solos.

9 Solos: After the Snowfall • Antarctica • Canyons • DanzaEspañola • Distant Lights • Droplets • Fantasy Flight •Kangaroo Dance • Tribal March.

Gently floating (h = 60)

Copyright © 1994 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

Bruce Berr

First Snowflakes

4Both hands one octave higher throughout

mp

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2

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4

4 2

2

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4 4

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31

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simile

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simile

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Expeditions inStyleBruce Berr

Late Elementary/Early Intermediate (Level 3/4)

00296526/$6.95

Spanning a wide range of musicaland expressive content, theseclever compositions are notable

for both their pedagogical content and immediate appealto students.

11 Solos: First Snowflakes • The Glue Monster • Lost In TheJungle • Plaid (Black On White) • Playful Puppy • Pop! • SongAbout Home • Space Storm • Struttin’ • The Waltzing Worm• Wandering Song.

Expeditions In Style

Explorations In Style


2

BILL BOYD (1933-2001) played pianoprofessionally as both a solo performer andband member in hotels, supper clubs, andprivate clubs in New York and Long Island.Mr. Boyd composed numerous jazz collec-tions, including the Think Jazz pianomethod and the Jazz Starters series for

beginners. Mr. Boyd was awarded a master’s degree fromColumbia University and taught junior high school band andstage band in Huntington, Long Island for over 20 years.After retiring from teaching, Mr. Boyd devoted all his time toarranging and composing.

Jazz PrelimsBill Boyd

Early Elementary (Level 1)

00290032/$5.95

Bill Boyd works his usual magicwith these simple, yet truly jazzylittle solos for the young beginner.Each piece has a catchy title andfeels good to play. The jazz flavor

Bill creates in each solo is a classic hallmark of his creativegenius – easy-to-play pieces that give beginning performersa real taste of jazz style and flair. Various meters, tempos; CMajor; alternating hands melodies; fixed position; Readingrange: middle of the keyboard range; Treble and bass stafflines and spaces.

12 Solos: Bass Guitar Blues • Bass Guitar Rock • Blues Parade• Follow The Leader • Imitation • Jazz Time • Love Theme ForA TV Series • A Minor Effort • Smooth Groove • Take A Rest •Tick Tock The Jazz Clock • Triple Play. 5


4

Duet Part (Student plays one octave higher than written.)

Moderately

legato

5

ModeratelyBy Bill Boyd

4 3

L.H.

2 2 3

R.H.

4 5

Blues Parade

5 1

MIDDLE

2

2

BILL BOYD

Jazz Prelims

FROM THE COMPOSERSince Bill is no longer here to speak for himself, we will recon-struct his thoughts based on conversations many of us havehad with him over the years when he wrote for Hal Leonard.

Advice for TeachersBill talked often about carefully observing the style differ-ences between rock ‘n roll, ragtime, swing, blues andbebop. It’s helpful to play the solo yourself first, for stu-dents, letting them hear the style and rhythmic vitality ofjazz in its best light before asking them to begin to studythe piece. Work out tricky rhythms with tapping exercises,or isolate those passages in the music, working the meas-ures so that the rhythms are not just “correct,” but alsosound “just right.” Trust your ear and instincts, guiding stu-dents along the path to a good, natural, jazz sensibility.Above all, have fun! Bill would have liked that.

The Inspiration Behind Bill’s Jazz SolosBill realized that jazz had to be fun to play and easy to under-stand for piano students of all ages. More than anything, hewanted to bring the world of jazz to students at their level ofexpertise. So, he did what he always did so well – he wroteoriginal, jazzy piano solos that are immediately within thegrasp of anyone’s ability, and yet sound like the real thing.


Jazz Starters (I, II, III) Bill BoydThese three delightful collections of original jazz tunesimaginatively capture the spirit and style of “real” jazz forthe student performer. Each collection features a wide vari-ety of jazz styles, and is sure to provide many hours ofenjoyment for students of all ages. A perfect introduction tojazz for the elementary to late-elementary level student.

Jazz Starters • Elementary (Level 2) 00290425/$6.95 10 Solos: B. B.’s Boogie • Blue Rock • Blues Prelude • Chill Out! •A Little Latin • Minor Is Finer • Rockin’ The Boat • Stompin’ •Swing-A-Ling.

Jazz Starters II • Late Elementary (Level 3) 00290434/$6.9511 Solos: Dixieland Jam • Hand-To-Hand Combat • Major Song• Minor Song • Primetime Blues • A Rather Raucous Rock • TheRock Exchange • Six Ate Beets • Soft Shoe Shuffle • Sweet Swing• Why Not?

Jazz Starters III • Late-Elementary (Level 3) 00290465/$6.9512 Solos: Back Porch Swing • Boogie Rock • The DixielandTuba • Hickory Dickory Rock • Jazz Theme And Variation •Minor Blue • Ragtime Waltz • Too Blue • Too Cool To Fool •Two-Four-Six-Eight • Woogie Boogie.

3

5

18

5

1015

5

72

52

41

5 2

Quickly ( = 110)3

. Bill Boyd

Six Ate Beets


3

13

9

5

Slowly

T O O B L U EBy Bill Boyd

12

1

1

2 1 25

12

1

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rit.

15

Copyright © 1993 by HAL LEONARD PUBLISHING CORPORATIONInternational Copyright Secured All Rights Reserved

6

2

101 5

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72

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Fast Rock2 1 5

CH I LL OU T!By Bill Boyd

Jazz Starters II Jazz Starters III

Jazz Starters


4

Jazz Bits and PiecesBill Boyd


00290312/$6.95

Bill Boyd’s masterful craftsmanshipis readily apparent in these 11pieces. Slightly easier than hisintermediate-level books, Jazz

Delights and Jazz Fest, this solo collection for the early-inter-mediate pianist explores a variety of jazz styles from bluesto swing. Bill’s original solos lay out essential style elementsin pieces that fit a developing pianist’s technique easily, pro-viding students with ample opportunity to develop finessethrough enticing melodies and subtle harmonies. An imag-inative collection of pieces, sure to please any age. Keys: fullrange; Reading: full range of keyboard; syncopation; 2 – 4page solos; 24 pages.

11 Solos: Chordially Yours • Easy Over • Minor a la Mode •“Must Do” Blues • Over Easy • Ragtime • Rock-a-Bye • SwingDing • True Blues • What’s Up?

Jazz Bits and Pieces Jazz Bits and Pieces

Jazz Bits and Pieces


5

Think Jazz! A Jazz Piano Method Bill Boyd


00290417/$9.95

Bill Boyd created this thorough,inventive method especially foryoung students. Teachers and stu-dents with little or no prior knowl-

edge of jazz idioms will find this method easy to follow, andwill enjoy the great original songs that form the core of thisinformative book. A great introduction to jazz for the early-intermediate level student. Includes units on: Jazz Rhythms& Accompaniments • Basic Improvisation • Ragtime • 50sRock • Playing From A Fake Book • Blues • Swing • and Boogie-Woogie.

Think Jazz! Think Jazz!

Think Jazz!


6

Jazz Delights Bill Boyd

Intermediate (Level 5)

00240435/$6.95

Enticing original jazz solos frommaster jazz composer Bill Boyd!This collection of intermediate-level solos is a sure winner withstudents of all ages. Written in a

variety of styles, each piece highlights a certain mood withstriking harmonic color and rhythmic grace. Many greattunes, excellent recital material!

11 Solos: Blue Waltz • Satin Latin • Three For Jazz • AChording To Charlie • Ballad For Amy • Rock Shock • LatinLogic • Waltz For Amy • Hang Out • In A Latin Mood • Nothin’Could Be Finer Than Minor.

Jazz Delights Jazz Delights

Jazz Delights


7

Jazz SketchesBill Boyd


00220001/$6.95

Elegant, clever, authentically-styled original compositions char-acterize this third excellent collec-tion of jazz piano solos for theintermediate performer by Bill

Boyd. Bill’s suave ease in writing original jazz for theadvancing student performer is evident in each of thesecaptivating solos. Various meters, keys, tempos; readingrange: full keyboard.

8 Solos: The Bass Man Walketh • Home Fried Potatoes • MoveIt! • Oh So Blue • Perpetual Motion • Ragtime Blue • SoundAdvice • Swingin’.


35

2

1

Moderately = ( = 110)

2 35 3

51

4

H O M E F R I E D P O T A T O E SBy BILL BOYD


2.

1 15

15

3 1

2

1.

2

2

2

14

Moderate Rag = ( = 124)

All Quarter Notes Staccato

2

1

24

R A G T I M E B L U E

By BILL BOYD

Ragtime Blue 1 of 1 kk Piano Solo Jazz Sketches Job#: 55994

1

1


3 4 4

4

44

4

L.H. Legato4 3

4

Moderately = ( = 110)3

17

T H E B A S S M A N W A L K E T HBy BILL BOYD

4

5

The Bass Man Walketh 1 of 3 kk Piano Solo Jazz Sketches Job#: 55994

Jazz Sketches Jazz Sketches

Jazz Sketches


8

Music educator and composer DEBORAHBRADY began her career while still anundergraduate, teaching keyboard theorycourses at Shorter College. During the sameperiod, she also taught private piano andguitar. Nationally certified by the AmericanCollege of Musicians, Ms. Brady currently

operates a thriving private studio and composes educationalmusic. Ms. Brady holds a Bachelor of Music degree fromShorter College where she studied with Mr. William Knight,and completed her masters and doctoral programs by exten-sion from Victory Institute. Her professional affiliations include:BMI, Music Teachers National Association, National Guild offPiano Teachers, National Federation of Music Clubs, GeorgiaMusic Teachers Association, and the Gwinnett County MusicTeachers Association.

FROM THE COMPOSERMy music expresses my “inner student.” These are thepieces that would have inspired and motivated me duringmy student days. Composing gives me the opportunity toenjoy the same excitement and sense of adventure I knewas a student because each piece allows me to explore a newand different musical landscape.

Advice for Teachers I love to hear my music played expressively. We teachersmust, of course, give our students the basic tools that willhelp them build a musical performance, but I live for thatmagical moment of transformation when the notes andsymbols on the page become the student’s own means ofpersonal expression.

The Inspiration Behind Debbie’s MusicWhen I compose, I feel as if I have tuned in on a creativefrequency, much like tuning in a radio station. My “radio”can be turned on by a word, mood, mental image, or sim-ply by sitting down at the piano in a receptive frame ofmind. I choose to believe that this “frequency” is God’s cre-ative force and I am simply a very grateful recipient of the“broadcast.”

Monday’s Child A Child’s BlessingsDeborah Brady


00296373/$6.95

Can any of us resist smiling whenwe revisit the nursery rhymes ofour childhood? Perhaps our love ofmusic began with the musical

quality of those words we learned as very young children.This collection of solo piano pieces for the intermediatepianist is based on the Mother Goose poem that begins,“Monday’s child is fair of face…” These seven short charac-ter pieces, named for each day of the week, are written in acharming lyrical style, depict the various moods of each dayof the week’s child. Keys: C, G, F, Am, Em, D. Level: EarlyIntermediate to Intermediate (HLSPL 4/5). Some scale pas-sages in 1-octave; limited use of 16th note passages; somesyncopation; lyrical, Romantic style.

Moderato (q = 108-120)

Monday’s Child is fair of face.Monday’s Child

Deborah Brady


pp

31

L.H.

2

31

L.H.

2

31

L.H.

2

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rit.

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Both hands 8va

loco

Throughout, use the una corda pedal for pp passages.

15

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mpa tempo

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2 21

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DEBORAH BRADY

Monday’s Child


9

Andante espressivo (q = 112)

Wednesday’s Child is full of woe.Wednesday’s Child

Deborah Brady


p

1 3 rit.

1

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a tempo

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poco dim.

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Espressivo (q = 100)

Friday’s Child is loving and giving.Friday’s Child

Deborah Brady


sempre legatomp

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CoT oda

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Con brio (h = 84-96)

Saturday’s Child works hard for a living.Saturday’s Child

Deborah Brady


leggiero

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Liltingly (h. = 44)

But a child that’s born on the Sabbath DayIs bonny and blithe, and good and gay.

Sunday’s Child

Deborah Brady


mp

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Monday’s Child Monday’s Child

Monday’s ChildMonday’s Child


10

The Toymaker’sWorkshop1 Piano, 4 HandsDeborah Brady


00296513/$5.95

Excellent for seasonal recitals orany time of the year, thesedelightful duets encourage sensi-

tive ensemble playing for late elementary students.

5 Duets: Music Box Minuet • Pinwheels • Puppets’ Parade •Toymaker’s Express • Yo-Yo.

3

The Toymaker’s Workshopby Deborah Brady

Once upon a winter’s night,A toymaker toiled by evening light,While handmade toys for girls and boysStood ’round and about to his left and right.

The good man worked till half past three,So caught up in crafting his wares was he.’Twas time to close, ’twas time to doze.He should have been home in his bed,

you see.

Our toymaker would not rest beforeHe tried his new yo-yo one time more,So down and up, and down and up,Then off it went flying across the floor!

The yo-yo rolled without a hitch,But couldn’t quite figure which way

was which.It wobbled here and bobbled there,Then tumbled and toppled upon a switch.

The switch sent shivers down the lineAnd made the toy train run mighty fine,Around the track, around and back,Chug-chugging right by the station sign.

The engine gave a whistle screamAnd tried to catch up with its

headlight beam.It huffed and puffed, and puffed and huffed,And puffed up a powerful head of steam.

The steam took form and billowed highIn cottony clouds that seemed to fly.The steamclouds grew and vapors blewA breath of pure magic through

Toydom’s sky.

The pinwheels were the first to know.Their head began turning all down the row.Their colors clashed, they spun, they flashed.They reeled and they wheeled in a gyro-show.

Now, music box, by magic wound,Awakened its dancer, and up she bound.En pointe, she twirled with arms unfurled,Her heart beat in time with the tuneful sound.

Above the bench, a doll coquetteWas seen making eyes at a toy cadet.And so a glance became romanceAs they danced to the Music Box Minuet.

The top-shelf puppets swung and swayed.They shrugged off their strings, then

jumped and played.As toes tip-tapped, the other toys clapped,“Hooray for the marionettes’ parade!”

Then every toy in every sizeQuickened, to Toymaker’s stunned surprise.With zips and whirrs and pops and purrs,They all came to life before his eyes!

What charm possessed his handicraft?The toymaker threw back his head

and laughed.With hand on his brow, he wondered aloud,“Maybe it’s magic… or maybe I’m daft!”

But in with the dawn and out with the fun.The spell had been broken by morning’s sun.The music was stopped and all the toys

dropped.The yarn has been spun, so my story is done.

The Toymaker’s Workshop

Brightly (q = 192)


Yo-YoPrimo

Deborah Brady

Both hands two octaves higher throughout.

mf - mp

3

3

5

9

mp

R.H.

L.H.

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Brightly (q = 192)

Yo-Yo


Secondo

Deborah Brady

mp - p

42

1

5

9

f

3

4



11

The Twelve Daysof ChristmasDeborah Brady

Early Intermediate/Intermediate (Level 4/5)

00296531/$6.95

Following the success of Monday’sChild, Deborah Brady has com-posed original works based on the

poetry of the traditional carol. This set of pieces is terrific forseasonal recitals, especially if performed by several students.Includes optional recorder and drum parts.

13 Solos: Twelve Days of Christmas • A Partridge in a PearTree • Two Turtle Doves • Three French Hens • Four CallingBirds • Five Gold Rings • Six Geese A-Laying • Seven Swans A-Swimming • Eight Maids A-Milking • Nine Ladies Dancing •Ten Lords A-Leaping • Eleven Pipers Piping • Twelve DrummersDrumming.

Moderato (q = 72-84)

The Twelve Days of Christmas


Traditional English CarolArranged by Deborah Brady

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The Twelve Days Of Christmas

Lightly (h = 76)

Eleven Pipers Piping


Good King WenceslasArranged by Deborah Brady

SopranoRecorderor Flute*

(Optional)

Piano

4

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*Play flute one octave higher than written. Optional recorder/flute part on page 33.

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Sweetly (q = 72)

Four Calling Birds


Deborah Brady

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12

ROSEMARY BARRETT BYERS hasenjoyed a varied career as pianist, conduc-tor, theatrical director, teacher, composerand arranger. Since completing a Masterof Music degree in piano performance atIndiana University, she has taught childrenand adults of all ages and levels in a home

studio and at various colleges and universities throughoutthe Southeast and Midwest. Several of her original children’smusicals such as Billy Angel’s Box, Miracle at Maple Hollow,CinderElf and The Weally Weird Wabbitt have been producedby show choirs and theater companies in Tennessee andKentucky. Other published piano compositions include CatTales, More Cat Tales, Clown-U-Copia and Blues Suite.

FROM THE COMPOSERMy music is really a synthesis of 4 previous “lives”: pianist,teacher, conductor, music theater director.

Advice for Teachers After notes, fingerings, dynamics, etc. are learned, try tofind the “groove” of the piece. I believe this is ultimatelywhat makes a piece work for the performer and for theaudience.

The Inspiration Behind Rosemary’s MusicWorking with students is the inspiration behind my com-positions and arrangements!

Sounds Of Christmas Carols For Two At The PianoArranged by Rosemary Barrett Byers

Early Intermediate/Intermediate Piano Duets(Levels 4/5)

00296406/$6.95

Five classic Christmas carols areincluded in this delightful seasonal

collection of equal-partner duets for one piano/four hands.Arranged with expert style and finesse, there is plenty ofopportunity for both parts to have the spotlight. Studentswill especially enjoy the humorous rendition of We Wish YouA Merry Christmas, whose middle section involves a bit ofmusical “sparring.” Easy to learn, yet full and rich sounding,these duet arrangements sparkle with the joy of the season.Early Intermediate/Intermediate piano duets (HLSPL Level4/5); Keys: F; C; C/D; E mi; F/G. Meters: Common Time;3/4; 6/8. Range: full keyboard.

5 Duets: Deck The Hall • Silent Night • Joy To The World •What Child is This? • We Wish You A Merry Christmas.

Joyfully (q = 120)


Deck The Hall

Traditional Welsh CarolArranged by Rosemary Barrett Byers

Primo

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ROSEMARY BARRETT BYERS

Sounds of Christmas, Vol. 1


13

Sounds ofChristmas, Vol. 2Carols for Two at the PianoArranged by Rosemary Barrett Byers

EarlyIntermediate/Intermediate(Levels 4/5)

00296529/$6.95

Favorite classic carols make up this book of equal-partnerduets for one piano/four hands. Easy to learn, yet full andrich sounding, these pieces sparkle with the joy of the sea-son. Pianists will find them useful and rewarding for bothstudio recitals and church services.

5 Duets: Away in a Manger (Cradle Song) • Ding Dong!Merrily on High • Go, Tell It on the Mountain • Lullay, ThouLittle Tiny Child (Coventry Carol) • Up On the Housetop.

Smooth and flowing (q. = 40)


16th Century English MelodyArranged by Rosemary Barrett Byers

What Child Is This?

Primo

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Joyfully (q = 120-126)

Joyfully (q = 120-126)

Ding Dong! Merrily On High


16th Century French Dance TuneArranged by Rosemary Barrett Byers

Primo

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Quietly (q = 72)

Quietly (q = 72)

Lullay, Thou Little Tiny Child

16th Century English CarolArranged by Rosemary Barrett Byers


(The Coventry Carol)

Primo

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Sounds of Christmas, Vol. 2 Sounds of Christmas, Vol. 2

Sounds of Christmas, Vol. 1


1414

LUANN R. CARMAN has been a profes-sional pianist in Southern California forover 28 years, performing both classicaland jazz styles. She began her studiesplaying classical music and as a collegestudent, finding herself surrounded by tal-ented jazz musicians, started to explore

the world of improvisation. She holds a Master of Artsdegree in piano performance from the University ofCalifornia, Santa Barbara.

For 18 years, Ms. Carman has taught a variety of college-level music courses, most recently at California StateUniversity, Fullerton. She has maintained a private pianostudio since 1977 and currently teaches in Newport Beach,California, along with her husband, Paul Carman, an avant-garde jazz musician. She plays both classical piano literatureand improvisations for dance classes at the Idyllwild ArtsAcademy in Idyllwild, California, where she lives with Pauland their two sons, Izaiah and Stefan.

FROM THE COMPOSERI quote Debussy, “.....both performer and listener must beprepared for sudden interruptions and surprises.” That iswhat I like about music – it continues to surprise me.

Advice for TeachersTeach your students the patterns in the music – the chordprogression and the melodic and rhythmic repetitions.Doing this will make the tunes easy to memorize, so havethem play without the music in front of them sooner ratherthan later. Then let them “jam away” on the tunes, even ifmaking it musical comes later, so they can “ride” the rhythmand experience playing in time. They will have a lot of fun!

The Inspiration Behind Luann’s BookMy students inspired this book. Several of them requestedsongs they could “jam” on. I noticed that when I gavethem blues tunes, they learned them quickly because theywere having a good time. Since I couldn’t find a book forthem that explained blues improvisation, I wrote one!

Play the Blues!An Introduction to 12-Bar Blues and Blues ImprovisationLuann Carman


00296357/$7.95

An easy, yet thorough instruction-al book using famous, classic blues

and rock tunes to introduce students to the 12-bar bluesand simple blues improvisation. Each song is prefaced by aone-page worksheet to help students master pattern iden-tification, fingering, syncopation, and harmonic progres-sions. Perfect for novice blues pianists, who will derivemuch pleasure playing authentic tunes and developingtheir improvisational skills.

10 Solos: Bumblebee Blues • Blue Suede Shoes • Hound Dog• I Got You • In the Mood • Jailhouse Rock • Jump, Jive an’Wail • Night Train • Shake, Rattle and Roll • Tutti Frutti.

6

Blues StylesWhen a musician is on a gig, or perhaps in a rehearsal,the leader of the band may call out a tune and say it is a “blues.”Immediately the musicians think of the 12-bar blues form. Next they will need to know which style. Some of the manystyles that use the blues form are:

Country 1960s SurfRock and Roll Rock-a-BillySwing 1950s Pop MusicFunk Jazz BluesTraditional Blues Style New Orleans Style

There are two other blues forms, the 8-bar blues and the 16-bar blues, but most blues tunes use the 12-bar blues. As you can see above, just about any style can be played over it. The characteristics of the riffs, rhythms, bass patterns, etc. will determine the style.

Three Common Blues CharacteristicsA song in blues style generally contains three common characteristics. They are:

• the use of a standard 12-bar blues chord progression

• a repetitive bass pattern, or walking bass

• the specific forms of the melody and lyrics

Let’s look more closely at these three common blues characteristics.

The 12-Bar Blues ProgressionMany songs use a 12-bar blues progression. If you want to play the blues, you need to be familiar with this chord progression. In fact, it is a good idea to memorize this chord progression so that youwill already know the chords when you begin to learn a new song.

The 12-bar blues progression uses the I, IV, and V chords in any key in a distinctive chord sequenceover 12 measures. Thinking in chords (I, IV, V) makes playing in different keys much easier.

The examples below show a 12-bar blues progression in its basic harmonic formula, using chords builton the first (I), fourth (IV), and fifth (V) degrees of the scale.

You can see from this diagram that the chord progression is I–IV–I–V–IV–I, moving over 12 measures,or 12 bars, hence the name “the 12-bar blues.”

A gig is a musician’s term fora performance engagement bya soloist or a band.

A riff is a short melodic ideawhich has a particular stylisticsound to it; for example, blues,country, or jazz style.

1 2 3 4

I

5 6 7 8

IV

I

9 10 11 12

V

IV

I

LUANN CARMAN

Play The Blues!


1515

22

Hound Dog Worksheet

• Fill in the chord symbols for D blues. (Refer to page 7 if needed.)

• Is the beginning of Hound Dog the pick-up measure or the first full measure of the song?

Right HandThe right-hand melody, measure 1 through measure 4 below, repeats later in the piece.

• Which measures repeat this phrase? Measure _____ through _____.

a. Circle the fingerings on the Fs in the excerpt above.b. Clap and count the excerpt.c. Play the excerpt.

Left Hand – Grace NotesNormally, grace notes are played just before the main note.However, it is far too easy to get thrown off rhythmically if youdon’t have much experience with them. At first, you might like totry “crushing” the grace note and the main note at the same time,then releasing the grace note quickly while continuing to hold themain note of the melody.

Play the left-hand D chord below. The fingering (1–2–5) isdifferent from what you might expect for a root-position chord.This unconventional fingering will prepare you to add gracenotes later.

Play the D chord in the following rhythm:

Practice Hound Dog, hands together, without the left-hand grace notes. When you can do this with thecorrect rhythm and without hesitation, add the grace notes.

Grace notes are notes that areadded to the main notes of aphrase. They can be found inmelodies and in accom-paniments. Grace notes arewritten in a smaller note size,preceding the main note.

7

You

+

3

ain’t2

+

noth3

in’+

- but4

a+

hound1

+ 2

dog+ 3

+ 4 + 1

+ 2

cry+

5

3

in’+

- all4

the+

time.1

125

1

5

+ 2 +

2

3

+ 4

1

+ 1

1

5

+ 2

3

+

2

3

+ 4

1

+ 1

Now add the grace notes.

48

D Blues ImprovisationCreate you own improvisation in the blank measures. Notice that some measures have sample,improvised notes to help you out.

Slow Blues tempo (iq = q e)K

mp

D7 4

1 2 1

4 G7

4

7 D7

1 2 1

1 2

Tip: Stay above treble C in thismeasure because you’ll be playinga high A in the very next measure.

A7

10

G7

D7

Tip: Connect measures 10 & 12by playing some descending scalenotes, from high G down to the Dabove middle C.

51

Exercise 12: Let’s Improvise More Melodies

A good improviser will start with a single melodic idea and then will expand on it. Let’s briefly reviewthe basic characteristics of blues melodies and lyrics.

There are three melodic phrases, four measures each, in the 12-bar blues:

First phrase (measures 1– 4): is played over the I chord.

Second phrase (measures 5–8): often repeats the first phrase. Even though the melody here may be identical to the first phrase, the harmony changes to the IV chord, giving the phrase a different sound.

Third phrase (measures 9–12): completes the musical sentence, and sounds like an ending to thefirst two phrases. The harmonic progression leads from the V chord, to the IV and finally, ends on I.

For example, take a look at School Day Blues.

School Day Blues

The blues lyrics formula will help you to improvise. Let’s quickly review:

First phrase: an introductory lyric line

Second phrase: repeats the first line

Third phrase: the rhythmic word pattern changes, and the new lyrics complete the thought

Again, the second phrase is the same as the first. Make up your own lyrics and—surprise!—a melodywill appear! You can make the words silly, or “down-and-out,” as in School Day Blues. In Exercise 13:Improvisation, create your lyric lines first, writing them into the music staff over the given bass line.Then, improvise a melody that fits your lyrics.

Slow Blues tempo (iq = q e)

K

D7I’m e lev

- en- years old,

and I

got the school

day

blues.

33

5

G7I’m e lev

- en.-

I got the school

day

blues.

D7

33

9

A7I get

to play

all day,

G7

to mor

- row’s- Sat

ur- day,-

there’s no school.

D7

3 3

Play The Blues! Play The Blues!

Play The Blues!

Medium Rock tempo (iq = q e)K

Copyright © 1956 by Elvis Presley Music, Inc. and Lion Publishing Co., Inc.Copyright Renewed, Assigned to Gladys Music and Universal Music Corp.

All Rights Administered by Cherry Lane Music Publishing Company, Inc. and Chrysalis MusicInternational Copyright Secured All Rights Reserved

Words and Music byJerry Leiber and Mike Stoller

Youmf

3

ain’t

noth in’- but a hound

D

dog

cry

5

in’- all the

5

3 2

1

time.

3

You

3

ain’t

noth in’- but a hound

G

dog

5

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cry

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D

Well,

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5

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bit- and you ain’t

G7

no

friend

of mine.

1.

2.

11

D

D

* Practice hands together without the left-hand grace notes. When you can do this with the correct rhythm and without hesitation, add the grace notes.

23

Hound Dog

Play The Blues!


16

SONDRA CLARK is a graduate of TheJuilliard School of Music in New York City;San Jose State University, where shereceived a Master’s Degree and anOutstanding Music Student Award; andStanford University, where she completedher Ph.D. on an Ella Moore Shiels

Fellowship for Academic Excellence. Her composition teach-ers have included Vincent Persichetti, Norman Lloyd, andGeorge Perle. Dr. Clark was a member of the San Jose StateUniversity Music Faculty for twelve years, teaching musictheory, history, and advanced piano. She is an international-ly recognized specialist on the music of Charles Ives and along-time Bay Area music critic. Now retired from teachingand music criticism, Dr. Clark devotes herself to composingfull time. Since 1990, over forty of her compositions havewon honors, including a 2001 ASCAP award. Her works areperformed internationally and have received unanimouslyenthusiastic resonse.

FROM THE COMPOSERHumor and beauty are very important to me, and peopleoften tell me my music reflects that. I also like to try newthings, like working with “odd” rhythms and creatingmelodic and harmonic surprises – above all, music shouldnever be boring!

Advice for Teachers My dearest hope is for teachers and students to enjoy play-ing my music, to have fun with it.

The Inspiration Behind Sondra’s MusicThere really isn’t a time when I’m not inspired to compose!Music, new and old, swirls around me almost all the time –I find myself humming in supermarkets and bank lines.Music is a wonderful companion – when you can hearmusic, you’re never alone, and I believe we all have this gift.

Three Odd Meters 1Piano, 4 HandsSondra Clark


00296472/$6.95

With Poulenc-like playfulness,3+3+4 combines groups of eighthnotes in a rhythmically unconven-tional way. Players will revel in its

wry humor and bright, outgoing manner. Timing: 1:47.

Pentatempo Waltz trips the light fantastic, sweeping acrossthe ballroom with elegance and grace. Timing: 2:54.

Two-Timing plays with the similarities and differencesbetween 6/8 and 3/4, with the music shifting between thetwo meters flexibly and often. Timing: 1:31.

This collection makes outstanding recital fare or studioensemble pieces for intermediate-level pianists with therequisite technical skills and musical imagination.

3 Duets: 3+3+4 • Pentatempo Waltz • Two-Timing

Brightly (q = 120-144)


3+3+4

Copyright © 1999 by Sondra ClarkAll Rights Reserved Used by Permission

Sondra Clark

Primo

mf

5

cantabile

3

mf

2 3 1 simile

Secondo

51

4

5

cresc.

4

cresc.

3

2

SONDRA CLARK

Three Odd Meters


17

Smoothly (e = 160-184)

Smoothly (e = 160-184)

Pentatempo Waltz


Sondra Clark

Primo

mp

51

541

531

521

Secondo

5

mp

41

51

5

41

431

421

51

simile

4

10

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cantabile

1 4

9

21

5

4

31

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1 5

13

4

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431

53

1

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4

4

11



Two-TimingSondra Clark


Primo

*

mp

4

leggiero

4 simile 4

125

simile

Secondo

5

4

cresc.

2 1 4

31 4

1 (4) 2

24

5

mp

5

leggiero

3

*Groupings determine meter

1

2

21

9

mf

42

cantabile

1 4 15

simile4 2

5 4

1

134

1

3

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1

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35

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1

25

1(5)

1

5

3

22

Three Odd Meters Three Odd Meters

Three Odd MetersThree Odd Meters


18

Dakota DaysSondra Clark


00296521/$6.95

Evoking the awareness of beautyin nature and in all life, theseNative American-inspired pieceswill appeal to both teenage andadult students.

5 Solos: Setting Sun, Shadows Gray • Tiny Raindrops FallingSoftly • Wake Up, Wake Up! • When I Go in Beauty • Wherethe Mustangs Run.

Brightly (q. = 66-88)

Wake Up, Wake Up

Sondra Clark


p

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13

12

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1

1

4

5

cresc.

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Dakota Days

Dakota Days

Dolce cantabile (q. = 52-60)

When I Go In Beauty

Sondra Clark


21

p

32

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2

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simile simile

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cresc.

42

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poco rit.

13 4

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a tempo

531

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53

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6

Steady gallop (q. = 80-96)

Where The Mustangs Run

Sondra Clark


mp

cantabile

21

42

53

25

lightly

1

simile

5

42

12

31

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1 2

1

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13

42 2

1 53

dim.

42

21

25

12

Dakota Days


19

Con espressione e poco rubato (q = 69)

Con espressione e poco rubato (q = 69)

O Little Town Of Bethlehem

Music by Lewis H. RednerArranged by Sondra Clark


Primo

Secondo

mp

31 2

cresc.

4

2

5 2

1

21

4

42

mp cresc.

1

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1 2 1

1 2

4

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1

mp

cresc.

simile

24

Playful (h = 72-84)

Playful (h = 72-84)

Up On The Housetop

Music by Benjamin R. HanbyArranged by Sondra Clark


Primo

Secondo

41

mp

5

5

4

mp

3 5 Both hands 8va

2

3

1

5

mp

34

Favorite Carols For TwoArranged by Sondra Clark


00296530/$6.95

Sondra Clark lends her magic touchto four-hand arrangements of thesefamiliar carols. Outstanding fare forseasonal recitals and church services!

Six Duets: Ding Dong! Merrily on High • God Rest Ye Merry,Gentlemen • Good King Wenceslas • O Little Town of Bethlehem• Silent Night • Up on the Housetop.

Favorite Carols For Two

Favorite Carols For TwoFavorite Carols For Two

35102 Comp Showcase Broch 2/22/05 9:49 AM Page 19

20

MATTHEW EDWARDS made his formaldebut as a piano soloist with the CarolinaYouth Symphony Orchestra at the age ofeleven, after only two years of piano study.Since that time, he has performed manyconcerts throughout the United States,and has been a prize winner in numerous

competitions, including the Grand Prize in the StravinskyAwards International Piano Competition and First Place inthe 1990 Music Teachers National Association CollegiateNational Finals. He has studied piano with Laurence Mortonand Robert Weirich, and in 1999, he completed his Doctorof Musical Arts degree in piano performance at the PeabodyConservatory of Music, under the instruction of RobertMcDonald. Currently, he is an Assistant Professor of Music atAnne Arundel Community College in Arnold, Maryland andmaintains a private piano studio at his home and continuesto perform and present workshops and masterclassesthroughout the Mid-Atlantic region. Matthew resides inColumbia, Maryland with his wife and their two children.

FROM THE COMPOSERThere is so much of “me” in my music, but if certain ele-ments are expressed the most, those might include the sen-timental, reflective side of me, as well as a good amount offun and surprise.

Advice for Teachers My music is very melodically dominated, so focus on voic-ing and tone production; look for the harmonic surprisesand put a special bit of emphasis there. And have fun!

The Inspiration Behind Matthew’s MusicI believe my best inspirations come from people and placesthat are close and dear to me, either currently or in mymemory. I’ve been inspired by my wife and children, byfriends, even by specific locations, such as Central Park inNew York City, and the moonlit lake at the summer camp Iattended as a child.

Concerto for Young Pianists 2 Pianos, 4 HandsMatthew Edwards


00296356/$12.95

A NFMC Junior Concerto choice for2004 – 2006, this dazzling inter-mediate-level concerto in two-

piano/four-hands format is destined to become a “classic”student concerto. Written in three movements, the piano-solo part includes two exciting, dynamic outer movementswith plenty of opportunity for the soloist to shine. A lyricalmiddle movement provides ample contrast to the livelyouter movements. An imaginative second-piano part pro-vides complementary support to the solo part throughout. • Folio includes two complete scores for performance. • Now a Book/CD!

Moderato (q = 88)

Moderato (q = 88)

Piano II

By Matthew Edwards

In memory of Laurence H. Morton

I

Commissioned by The Greater Laurel Maryland Music Teachers Association


PianoSolo

mf

53

Con pedale

Concerto for Young Pianists

3

L.H.

R.H.

mf

1

5

2

3

5

1

3

3

1

4

1

5

5

1

3

simile

mp

2

MATTHEW EDWARDS

Concerto for Young Pianists


21

PianoSolo

Adagio (q = 66)

Adagio (q = 66)

Piano II

II

L.H.

R.H.mp1

5

15

4

mf

1 2 3

5

3 12

4

p

Con pedale

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35 4 3 1

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Con pedale

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4 1 3 2 3 1

1

3

1

3

1

11

20

120

f

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1

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3 1

120

mp

non legato

124

124

47

128

mf

mp

128

4

3

13

1 2 3

1

132

Both hands 8va

ff

sub. p

132

3 1 3

1 4

ff

241

41

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sub.

8va

p

sffz

3 1 3

3

1

48

Concerto for Young Pianists Concerto for Young Pianists

Concerto for Young PianistsConcerto for Young Pianists


22

MICHELE EVANS has been composingand improvising since she started musiclessons at age 6. After an intensive 12-yearperiod of classical piano training, her for-mal study of music was continued atMichigan State University, Berklee Collegeof Music in Boston, and UCLA. During her

time at UCLA, Michele was the recipient of the BMI/JerryGoldsmith Film Scoring Scholarship Award. She was alsochosen to compose an original composition for full orches-tra at the ASCAP Workshop in Los Angeles, where she con-ducted her work at the Fox-Newman scoring stage at FoxStudios. Michele is an accomplished jazz pianist and com-poses solo piano literature as well as music for feature films.She maintains a private music tutoring service for gifted stu-dents in northern California, where she lives with her hus-band, Evan, and their son, Elliot.

Animal TonePoemsMichele Evans


00296439/$6.95

Delightful and imaginative titlesare the creative inspiration for themusic in this book. Each of the tensolos in this collection of tone

poems describes a different creature: Monarch Butterfly,Sea Anemone, Black Stallion, Fawn, Dolphins, Crickets,Bullfrogs, Great White Shark, Raccoon and Blue Whale. Thesolos vary in length from short, one-page vignettes tolonger musical depictions. Various tempos and meters andmoods throughout; Keys: G, C, F modal, G-Flat, D, F minor,E modal, A; Reading range: full keyboard.

Lilting (q = 138)


BullfrogsMichele Evans

mf

mp

2

1

4

3

5

2

1

2

5

2

2

f

2

4 3 3

3

3

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2 1 1

9

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1

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31

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421 1

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1

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2 142

5

mf

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1

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1

8vb

9

MICHELE EVANS FROM THE COMPOSERAnimal Tone Poems expresses my affection for all life on thisplanet. It’s a reflection of my deep respect for the creatureswe share this world with. As a child I spent many hours out-doors, studying ant hills, birds in their nests, and observingnature in general. I felt connected to the wildlife I encoun-tered and found an inner serenity communing with my nat-ural environment. This collection is my tribute to preservingbalanced ecologies, animals and their habitats.

Advice for TeachersAnimal Tone Poems is written for the intermediate studentand the songs are perfect for recitals. Each one is a musicaljourney, a glimpse into the world of an animal. Allow thestudent to interpret what the animal may be encountering,what kind of environment it is in, any other thoughts thatcome up when they play the composition. Use those ideasto enhance the performance.

The Inspiration Behind Michele’s MusicI am most inspired by the joy that I feel when my pieces areplayed by students, the musical growth I see taking place asa result, and the pleasure of knowing the sounds I create areadding more beauty to the world. For Animal Tone Poems, Ilet each animal dictate the notes I put on paper. It’s the mar-riage of music and the imagination that is magic for me.

Animal Tone Poems


23

Joyfully (h = 66)

Michele Evans


Monarch Butterfly

1

p legato throughout

42

5

3

4

1

mp

42

4 2 1

7

1 42

p

5

(q = q)

10

f

152

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2 1

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14

153

(q = q)

17

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3 3 5 3

5

(q = q)

(q = q)

25

rit.

a tempo

142

pp

5

f

28

17

Weaving (q = 132)


Sea AnemoneMichele Evans

mp

152

legato throughout

1 52 1

53

1

4

1

pp

42

7

1 53

1 53 1 4

2 1 42

3

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a tempomp

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rit.

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8va

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rit.

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21

Animal Tone Poems Animal Tone Poems

Animal Tone PoemsAnimal Tone Poems


24

PHILLIP KEVEREN, a multi-talented key-board artist and composer, displays atremendous versatility in both his concertperformances and his original works. Hecomposes in a variety of genres, and iswidely acclaimed for his piano publica-tions. Phillip is co-author and the MIDI

orchestrator of the internationally acclaimed Hal LeonardStudent Piano Library. He also arranges the folios of award-winning movie hits such as Beauty and the Beast and Titanicfor Hal Leonard Corporation. Mr. Keveren holds a Bachelorof Music in Composition from California State University,Northridge, and a Master of Music in Composition from theUniversity of Southern California. Phillip resides inTennessee with his wife and their two children.

FROM THE COMPOSERI think we are all pretty complicated creatures, capable of awide range of emotions. I approach the piano in a differentmood every day, and the pieces I write on any given daywill reflect that. For some reason, I tend to enjoy writingworks that explore a bittersweet sentiment.

Advice for Teachers and StudentsKeep your eyes open for all hints on the printed page(dynamics, articulation, etc.) that will help in your interpre-tation. I am trying my best to relay MY intentions. But, inthe end, use your own creativity and musical sensibilities tomake the piece speak for YOU. I often hear performances ofmy compositions that are slightly different than I imagined,but are musical in every way. That is thrilling to me!

The Inspiration Behind Phillip’s MusicI imagine the student in a recital. What piece will make themsound GREAT? What kind of piece will be exciting for themto share with friends, parents and grandparents? What piecewill inspire them in their continuing musical development? Ioften think back to my own experiences as a student anddraw upon those memories.

Mouse On A MirrorAnd Other ContemporaryCharacter PiecesPhillip Keveren


00296361/$6.95

Kids just want to have fun, andthey will have weeks of fun with

this delightful collection of late-elementary piano solos bymaster composer Phillip Keveren. Each solo explores a dif-ferent mood or conjures up a vivid musical image thatyoung pianists will thoroughly enjoy recreating at thepiano. The rich musicality of these solos makes it hard tobelieve that they remain in 5-finger patterns throughout.Playful and imaginative, these pieces will win the hearts ofstudents of any age.

5 Solos: Downhill Daredevil • Four Moods • A Misty Morning• Mouse On A Mirror • Quick Spin In A Fast Car • SummerCloudburst.

Scampering (h. = 63)


Mouse On A Mirror

By Phillip Keveren

pp

1

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crisply

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PHILLIP KEVEREN

Mouse On A Mirror


25

Shifty-Eyed Blues And More ContemporaryCharacter PiecesPhillip Keveren


00296374/$6.95

A sequel to Phillip’s first collectionof original solos for the late-ele-mentary student, Shifty-Eyed Blues

provides more hours of pianistic fun with lively, imaginativepiano solos sure to enliven lessons and recitals! Each pieceremains for the most part within simple 5-finger positions,shifting around the keyboard in a clear and easy manner.Evocative titles encourage interpretations that have a widerange of emotional and imaginative character. Level: LateElementary (HLSPL 3/4); Keys: C and F Major; ReadingRange: Full staff and ledger-line notes; accidentals; limiteduse of syncopation.

5 Solos: Tadpole Tag • Shifty-Eyed Blues • Prayer • Roundup!• Rock! Goes The Weasel.

As fast as you dare! (h. = 69-72)


Quick Spin In A Fast Car

By Phillip Keveren

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1

4

Sneaky Swing (q = 112) (swing eighths q = q e)


Shifty-Eyed Blues

By Phillip Keveren

mp

3

5

3 3

2

4

43 2 1

7

4 3

2 1

mf

5

3 3

2

4

Ride ’em Cowboy! (q = 200)


Round-up!

By Phillip Keveren

f

1

5

1

5

1

5

1

15

15

15

5

4

51

51

1

7

51

51 3

5

8

Shifty-Eyed Blues Shifty-Eyed Blues

Mouse On A Mirror


26

Tex-Mex Rex Phillip Keveren


00296353/$5.95

Young students’ fingers will surelydance to the music with thisdelightful set of solos! Each piecebrings to life friendly dinosaurcharacters and also a favorite

“watering hole,” The Fossil Funk Café! Charming dinosaurillustrations that students can color are interspersedthroughout the music pages. Features mainly 5-finger posi-tion solos in a variety of lighthearted moods; eighth notes;some syncopation; hands-together passages; some hand-position shifts; simple meters.

6 Solos: The Brontosaurus Bop • Dancin’ Dinos • Lights Out AtThe “Fossil Funk” • Tex-Mex Rex • The Triceratops Two-Step.

5 3


2 5

8

73 2

4

1 2

4 35 1 3 2

4

2 4 2 5 2

No faster than a dinosaur can dance1 3 2 1

2

R.H.

L.H.

TAP PREP

1

R.H.

L.H.

T E X - M E X R E X


20

5 2 1

7 3 2 1

45

5 2 1

All tuckered-out ( = )3

1b

R.H.

L.H.

TAP PREP

1a

R.H.

L.H.

then...

LIGHTS OUT AT THE “FOSSIL FUNK”


14

71 2 4

4

simile

Surefooted (not fast!) 1 2 4

3

R.H.

L.H.

2

R.H.

L.H.

TAP PREP

1

R.H.

L.H.

T H E S T E G O S A U R U S S T O M P

1 2 4

Tex-Mex Rex Tex-Mex Rex

Tex-Mex Rex


27

Romp!A Digital KeyboardEnsemble for Six PlayersPhillip Keveren


Book/CD 00296549/$9.95Book/GM Disk 00296548/$9.95

Sure to inspire students and thrillaudiences, this vigorous composi-

tion is both blisteringly hot and way cool at the same time!Scored for six players at six MIDI keyboards, the piece wascommissioned by the Indiana Music Teachers Associationand the Music Teachers National Association.

Fast (h = 118)Phillip Keveren


1 2 3 4

I

II

III

IV

V

VI

Piano

p

cresc.

L.H.

Drums

p

cresc.

R.H.

Jazz Bass

p

cresc.

5 6 7 8

I

II

III

IV

V

VI

Jazz Guitar

mp

cresc.

Commissioned by the Indiana Music Teachers Association & Music Teachers National Association

Romp!for Cheryl Everett & the Water Street Players

4

Fast (h = 118)


Phillip Keveren

5

9 R.H.

4

mp cresc.

3 1 3 21 3 1

L.H.

3

1

13

2

2

ff

17

(R.H.)

mp

21

1 4 1 2

25

Romp!Part I

Requires own keyboard.

Instrumentation:vibraphone

DO NOT PHOTOCOPY

Fast (h = 118)


Phillip Keveren

p

cresc.

4

2

1

3

5

31

52

41

42

4

25

13

14

24

9

31

25

13

31

ff

mp

14

1

4

1

4

37

Romp!Part III

Requires own keyboard.

Instrumentation:piano

DO NOT PHOTOCOPY

Romp! Romp!

Romp!


28

CAROL KLOSE, an accomplished per-former, teacher, clinician, composer andarranger, teaches piano and compositionprivately in Milwaukee, Wisconsin.Formerly on the faculty of the WisconsinCollege/Conservatory of Music, she hasconducted workshops and master classes

in the U.S. and Australia, specializing in student composition.With over twenty years in the music publishing field, heroriginal works include piano solos, duets, art songs, a musi-cal version of Dickens’ Christmas Carol, as well as pieces in theHal Leonard Student Piano Library and the NGPT AllisonContemporary Piano Collection. Ms. Klose holds degrees inPiano Performance from Rosary College (DominicanUniversity) (Summa cum Laude) and Villa SchifanoiaGraduate School of Fine Arts, Italy.

FROM THE COMPOSERI must confess that I am in love with the piano, so I try toexplore every facet of the piano’s sonority, hopefully creatingbeautiful and meaningful music that touches the listener andthe performer in a special way.

Advice for Teachers I think it’s helpful to begin by playing the piece, or part of it, relat-ing the style and character to the title. I’d also have the studenttry any unusual techniques – for example, moving between8va’s, hand crossing, or clusters. If the piece focuses on a partic-ular technical skill, I would demonstrate how to perform that skillwith ease and relaxation. Above all, I would have the student trya few measures or a melodic line up to tempo, to give him anidea of the kind of sound he will be striving for at home.

The Inspiration Behind Carol’s MusicThe sounds and movement in nature inspire many of mystudent pieces: for example, tweeting birds, sea creatures,or swirling wind. Life experiences and emotions also play abig part in the mood of my compositions. Lyrical, balancedmelodies are important to me, while at other times some-thing inside me wants to break loose with a Latin beat orsnappy jazz rhythm. Whatever the inspiration, I feel that apiece must always make musical and technical sense, sothat it can be played and interpreted with ease.

Coral Reef SuiteCarol Klose


00296354/$5.95

This masterful collection of mildlycontemporary solos for young stu-dents explores clusters, pedaleffects, and whole-tone patterns inan evocative, imaginative way.

Each piece beautifully describes its title with inviting soundsand colors. Great recital material! Features mainly 5-fingerposition, easily-learned solos; eighth notes; whole-tone pat-terns; damper and sostenuto pedal; hands-together pas-sages; some register shifts; simple meters.

7 Solos: Angelfish Arabesque • Ghosts Of A Sunken Pirate Ship• Invaders Of The Reef • The Jellyfish • The Lonesome HermitCrab • The Sea Anemone • Starfish Serenade.

Gentle Waltz tempo (q = 138)

Copyright © 1994, 2002 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

STARFISH SERENADEBy CAROL KLOSE

mp

31

L.H. over2

3

2

5

L.H.pp

24

2

9

mp

31

L.H.p

1

31

1

13

2

L.H.

4

R.H.

2

mp

4

4

CAROL KLOSE

Coral Reef Suite


29

Coral Reef Suite Coral Reef Suite

Woefully (q = 72-92)

Copyright © 1994, 2002 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

THE LONESOME HERMIT CRABBy CAROL KLOSE

p

1 3 1

pp

5

1

5

pedale simile

4 3 1 2 1

pp

4 8va

2

5

1

5

2

5

2

8

2mp

loco1

mf

mp

4

5

2

Slowly

13

1

rit.

2 ppvery lonely

51

8va

14

3

5

8va

11

Coral Reef Suite Coral Reef Suite


30

Fanciful WaltzesCarol Klose


00296473/$7.95

The waltz has been popular sincethe late 1700s, making it the old-est of all ballroom dances. Whileall waltzes are written in 3/4 ortriple time, the music itself can

portray a variety of styles and emotions, as these five imag-inative pieces beautifully illustrate. Whether it’s the delicatepurity of Crystal Ballerina, the jazzy harmonies of Lullaby inBlue, the wry humor of Maestro, There’s a Fly In My Waltz,the Viennese charm of Petite Waltz, or the sinister eerienessof Transylvania Ball, there’s something in this collection toappeal to every early-intermediate student. This music isoutstanding teaching material, as well as first-rate recitalfare. Keys: F major, D major (2), B-flat major, C minor.

5 Solos: Crystal Ballerina • Lullaby in Blue • Maestro, There’s AFly In My Waltz • Petite Waltz • Transylvania Ball

Tenderly (q = 112)

Lullaby In BlueCarol Klose


mp

5

espressivo1

2

4

5

3

1

4

2

4

1 2 1 3

5

1

simile

7 5

1

mf

5 1

2

5

1

5

1

10

3

1

2

5 5

1

5

5

5

8

Moderate Waltz tempo, with a lilt (q = 168)

Maestro, There’s A Fly In My WaltzCarol Klose

mp

3 1

2

3

4

12

5


4

2 1 2

3 5

21

Presto (“Fly” motif)

Tempo I

7

L.H.3p

432

2

3

mp

3 1

4

12

5

10

2

3

1

42

14

Fanciful Waltzes Fanciful Waltzes

Delicately, with motion; in “one” (q = 162; h. = 54)

Crystal BallerinaCarol Klose


p

42 5

R.H. 8va

5

4

p

4 (8va)

7 5 3 4 2 1

(8va)

5

3

5

11

5 (8va)

2

Fanciful Waltzes


31

Traditional Carols For TwoArranged by Carol Klose


00296557/$6.95

Perfect for seasonal recitals, thesedelightful duets will bring a smileto the face of all who hear them.Late-elementary students will

enjoy playing the timeless melodies and sonorous har-monies of these beloved Christmas carols. Optional percus-sion for Pat-a-Pan adds timbral variety to the festivities.

5 Duets: Bring a Torch, Jeannette, Isabella • Gesù Bambino •The Holly and the Ivy • Pat-A-Pan • Ukrainian Bell Carol.

Traditional Carols For Two Traditional Carols For Two

Cheerfully (h. = 72-80)


Bring A Torch, Jeannette, IsabellaPrimo

17th Century French CarolArranged by Carol Klose

mf

Both hands play one octave higher than written throughout.

4

1

5

9

7



The Holly And The IvyPrimo

Traditional English CarolArranged by Carol Klose

Both hands play one octave higher than written throughout.

mf

5

5

1

5

1 f

51

1

15

9

51

mp

15

15

23


The Holly And The Ivy


Secondo

Traditional English CarolArranged by Carol Klose

mf

Both hands play one octave lower than written throughout.

1 5 4 2

5

p

5 3 mf

51

2

1

15

9

51

f

1 5

15

22

Traditional Carols For Two


32

JENNIFER LINN, an accomplished per-former and composer in St. Louis,Missouri, is a contributing composer andarranger for the Hal Leonard Student PianoLibrary. Ms. Linn has maintained a privatestudio for over 20 years. Her compositionshave been selected for the National

Federation of Music Clubs’ festival list and have been fea-tured in Keys magazine. Jennifer has presented lectures andworkshops for professional music teachers’ associations andconventions and frequently adjudicates festivals and com-petitions throughout the Midwest. She is currently on thefaculty for the 2004 Illinois Summer Youth Music PianoCamp where she has taught every summer since 1998. Ms.Linn received her B.M. and M.M. in Piano Performancefrom the University of Missouri-Kansas City (UMKC)Conservatory of Music where she was the winner of theConcerto-Aria Competition.

FROM THE COMPOSERAll that I do in music comes from the heart. As complicat-ed as the heart can be to explain, it requires expression toreach maturity. I want others to experience the joy of musicthrough the piano and I try to express this desire in everypiece I write.

Advice for Teachers Before attacking all of the technical demands, be sure toattract students to the music first. If students are first intro-duced to the character, mood, and musical interest of apiece, they are more motivated to work on the skills need-ed to achieve a successful performance. Enthusiasm is con-tagious.

The Inspiration Behind Jennifer’s Music Beauty. Delighting in a moment of life. Inspiration mightcome visiting a spectacular place, looking out our kitchenwindow, or in an innocent glance. It appears in a sweetness,a pure thought, a silly giggle. Sometimes the beauty is atearful reality, but nonetheless beautiful when expressedthrough music.

AmericanImpressionsJennifer Linn


00296471/$7.95

This collection was inspired by thesheer beauty of the American land-scape and the ongoing pioneerspirit which continues to shape our

great nation. The vivid sound images in each piece keep apedagogical purpose always at hand, with the pianistic chal-lenges providing practical techniques to prepare the late-intermediate to early-advanced pianist for the beloved mas-terworks of Debussy, Ravel, Griffes, or Copland. Perfectmaterial for recitals, these pieces are 3–6 pages in length.

6 Solos: Midnight Skiing • On The Horizon • Sea Breeze •Soaring • Spirit Of The West • Wilderness Morning.

Andante (q = 84)

Wilderness Morning

Jennifer Linn


5

p

4 1 2 mp

1 2 3

1

5

15

4 4 4

1 2 1 pp

3 3 3

7

5 4

p

10

5

mp

41

2 mf

mp

1 2 3

L.H. over

5 1

5

JENNIFER LINN

American Impressions


33

Lively (q = 156)

Midnight SkiingJennifer Linn


mf

5 3 1 5 8va loco

3

3

3

3

3 3

5

3 3 3 3

3 3

4

531

f

531

3 3 3

3 3 3

7

31

pp

mf

33 3 3

5

2 1 2 2-1

3

33 3

10

3 3 3 3 3 3

3 3

3 3 3 3

14

Flowing and carefree (q = 120)

Sea Breeze

Jennifer Linn


p

3 152

1

mp

5 2 1

L.H. over R.H.2

4

5

p

mp

5

L.H. over R.H.

2

3

9

mf

2

4 2 3

p

5 2

1

5

5

13

mf

2

p

23

Decisively (q = 188)

Spirit Of The WestJennifer Linn


poco accel.

mf

1

25

4

1

25

f

8va

5

3 2 12

5 3

Fast and spirited (q = 114-120)

5

53 1 2 1 3 1 2 1

5 4 1 2 1 1 2 1 3 21

(8va)

15

15

15

7 loco

51 2 1

3 42

9

p

5 2 1 2

51

51

8va

5 2 1 2

26




Walking with courage (q = 84-96)

On The HorizonJennifer Linn


L.H. over

3

2

mp

31

freely poetic

21

31

53

42

R.H.5

3 3 3

15

15

5

mf

521

521

3

10 (L.H. over)

2

3

2

(R.H.)

p

5 simile

3 3 3 3 3 3

18



34

Les PetitesImpressionsJennifer Linn


00296355/$6.95

This collection was inspired by thedesire to have more preparatoryliterature available for the interme-diate-level pianist to explore the

unique pianistic and musical challenges of the impression-ist style. Pianists who study this stunning set of solo pieceswill experience the layers of color, touch, and timing sonecessary to a fine interpretation of this style. Imaginativelytitled, with rich texture and color, they are a wonderfulintroduction into the half-tint world of impressionist pianomusic. Musical directions are written in French throughout,as in the works of Debussy, and the book includes a glos-sary of French musical terms. Titles in French and English.

6 Solos: The Cat And The Gnat • Evening Tide •Moonshadows On The Mountain • Butterflies In The Sunlight• A Lighthouse In The Fog • Marcella’s Doll.

Les Petites Impressions



Rapide et léger (h. = 60 - 62)

Les papillons à la lumière du soleil

Jennifer Linn

Butterflies In The Sunlight


5

p

31

5

1 2 4

1 3 5

5

R.H.

1

5

2

5 3 1

9

1 3

5

L.H.2

5 L.H.

2

5 1 2 5

4

Expressif et tendre (q = 100)

Moonshadows On The Mountain

Jennifer Linn

Les ombres de lune sur la montagne


1 4 1-2

5

p

2 1 32

3 1 2

5

4

1 24 5 2 1 3

3 3

mp

5

2 1 3

2

7

5-3 5 mp

3

4 5

1 4

12

Lent (q = 80)

Un phare dans le brouillardA Lighthouse In The Fog

Jennifer Linn


51

R.H.

dans une brume doucement sonore

3

L.H.23

3

2 3 3 3 3

15

pp

5

simile

L.H.

4

2

R.H.3 1

L.H.

doux et fluide

3 2 1

R.H.3

2 1

8va

8

p

5 3 2 1 8va

3

3

3

3

mf

12

13

8


35

Dans le style d’un Cake-Walk (h = 100)

Jennifer Linn

La poupée de Marcella*Marcella’s Doll


4 2

4

mp

12

5

13

4

5

4

5

3

4

9

mf

R.H.

R.H. 1 2

4 5

31

15

12

3

1

2 1

13

5

f

*One rainy day Marcella Gruelle found her grandmother's faceless rag doll in an attic chest. Her father, Johnny Gruelle, added the famed black eyes, triangle nose and stitched mouth, creating the Raggedy Ann doll.

4 2 1

1

19



Scherzando

The Cat And The Gnat


Le chat et le moucheron

Jennifer Linn

=

mftrès sec

5 3 1

L.H.

23

5

L.H.

23

5

L.H.

23

=

Rapide et léger (q. = 208)

4

53

1

5

mp

4 2 1

4

6

mf

9

p

mf

16



Plus modèré (q = 72)

12

p

21

mp

avec humeur31

42

pp

mf

R.H. 42

3

(le chat)

pp

3 3

15

21

mf

pp

rapide531

3

pp

f

2 2 2 2

17

mp

au mouvement

pp

mf

pp

3 3

19

mp

pp

p

un peu retenu

pp

17

Fluide, gracieux (q = 116-126)

Evening TideLa marée de soir

Jennifer Linn


p

5 1

5 4 4

5 1

3

5

5

4

2

5

mp

pedale simile

7

cresc.

21


36

AMY O’GRADY received her Bachelor ofArts degree in piano performance fromthe University of California, Santa Barbara.She is a former member of the CaliforniaState Young Artists Guild and author ofBuilding Musical Intelligence: TheoryWorksheets That Really Work! She is

renowned for pedagogical, highly musical arrangements offamiliar works, originally created for use in her own teach-ing studio.

Ms. O’Grady is a past reviewer of educational materials forthe award-winning Piano Education Page, and has con-ducted workshops for teachers throughout the westernUnited States on such topics as “Using Piano Ensembles asTeaching Tools,” “Practical Solos Every Pianist ShouldKnow,” and “Developing Logic and the Art of PianoPlaying.” She resides in Simi Valley, California with her hus-band Tom and their son Connor.

World GemsFolk Songs for Piano EnsembleArranged by Amy O’Grady


00296505/$6.95

Fostering collaboration betweenteacher and students, these sixarrangements of familiar interna-

tional folksongs create exciting sonorities for electronic key-boards and/or pianos.

6 Ensembles: African Noël • Choucounne • El Condor Pasa •Jasmine Flower Song • Mexican Hat Dance (Jarabe Tapatio) •Sakura (Cherry Blossoms).

AMY O’GRADY

World Gems

7

African NoëlConductor’s Score

I II

III

I

II

III

Performance Configurations

Two Pianos

OR

Three Keyboards(with suggested instrumentation)

play aswritten

play aswritten

play aswritten

kalimba(adjust

volume up)piano

hahchorus

World Gems Ensembles

FROM THE COMPOSER

Advice for Teachers Why not collaborate with beginning students in every bit asdeep a way as you would the advanced: What patterns –such as repetition, imitation and sequence – do they see onthe page? Where is the most challenging section, and whynot learn it first? What dynamic markings or articulationwould they add as finishing touches? Embracing as many oftheir answers as possible – especially when they differ fromones we as teachers have in mind – makes each piece atwo-way adventure, and ultimately results in students whotrust and enjoy their own musical instincts. I’ve been con-tinually amazed at the unexpected directions familiar musictakes when immersed in this approach with even thenewest of my students.

The Inspiration Behind Amy’s MusicWhen colleague Elizabeth Tanguy and I started a piano/key-board ensemble program in our community, we challengedourselves to create balanced, imaginative parts for ourpiano ensembles. What fun we had in creating them, espe-cially in tribute to the music and cultures of the world.“Let’s play it again!” is still the most gratifying and rousingrefrain we hear from students and audiences alike.


37

World Gems

World Gems (Conductor’s Score)

World Gems

World Gems

With spirit (q = 92-96)African Traditional

Arranged by Amy O’Grady


Clap! Clap!

5

Clap! Clap!

9

Clap! Clap!

13

(echo)

“No(loud whisper)

ël!”

-

16

African NoëlPart II

If you are:• sharing the keyboard with Part III,

play as written.• seated at your own keyboard,

play as written.

Suggested instrumentation:piano

DO NOT PHOTOCOPYWorld Gems Ensembles

With spirit (q = 92-96)

African TraditionalArranged by Amy O’Grady


4 1 2

Clap! Clap!

(melody)

5

Clap! Clap!

9

4 1 2 Clap! Clap!

13

(echo)

4 1 2 “No(loud whisper)

ël!”

-

18

African NoëlPart III

If you are:• sharing the keyboard with Part II,

play as written.• seated at your own keyboard,

play as written.

Suggested instrumentation:hah chorus

DO NOT PHOTOCOPYWorld Gems Ensembles




African Noël

1 2 3

4

*I

II

III

Clap! Clap!

4 1 2

Clap! Clap!

(melody)

5 6 7

8

I

II

III

Clap! Clap!

Clap! Clap!

8World Gems Ensembles




5

9

13

(echo)

“No(loud whisper)

ël!”

-

13

African NoëlPart I *

• requires own keyboard.

Suggested instrumentation:kalimba (adjust volume up)

DO NOT PHOTOCOPY World Gems Ensembles


38

FROM THE COMPOSERAs a composer, my goal is to create musical works that willencourage students to express themselves fully through thismarvelous medium we have at our fingertips — the piano.

Advice for Teachers and StudentsI am a strong believer in the value of playing pieces andrecordings for my students to help them have an idea of“what is possible.” After carefully analyzing all the expres-sion marks in the score, we explore how to bring the musicto life so that each student can make it their own.

The Inspiration Behind the MusicFor musical inspiration I draw upon various scenes and expe-riences that have been personally meaningful. Somehow,memories of sights, sounds and feelings find their way on tothe printed page. Using imagery to paint aural picturesencourages pianists to perform artistically, and to find theirown means of self-expression.

MONA REJINO is co-author, contributingcomposer and arranger for the Hal LeonardStudent Piano Library. Ms. Rejino maintainsan independent piano studio in Carrollton,Texas, where she has taught students of allages and levels since 1983, as well asteaches privately at the Hockaday School

in Dallas. She frequently adjudicates festivals and competi-tions throughout the area.

Mona is a member of Who’s Who of American Women. Otherprofessional achievements include two recordings, Music forthe Adult Student and Pupil Savers, produced and distributedby the National Piano Foundation. Her compositions havebeen featured in Keys magazine.

Ms. Rejino received her Bachelor’s Degree in Music at WestTexas State University, and completed her Master of Musicin Piano Performance at the University of North Texas underpianist Joseph Banowetz.

Portraits in StyleSix Character Pieces forPiano SoloMona Rejino

Early Intermediate/Intermediate (Level 4/5)

00296507/$6.95

We often associate specific feel-ings with a place or scene, and

revisiting those visual images in our memory helps connectus to the feelings they brought about. Using imagery topaint aural pictures also encourages pianists to performartistically. The moods of the pieces in this collection arevaried, including a toccata, as well as Romantic,Impressionistic, jazz, and ragtime styles. Keys: C Major, DMajor, F Major, G Minor.

6 Solos: Carnival Rag • Cathedral Echoes (Harp Song) • Late-Night Jazz • Nocturne • Reverie • Westward Journey.

MONA REJINO

Portraits In Style

With energy (h ca. 100)

Westward Journey

Mona Rejino


mp

521

541

2

4

1

mf

1 2 5

7

12 4

10

2 1 2p

51

15

4


39

Portraits In Style

Portraits In Style

Portraits In Style

Portraits In Style

Expressively (q = 116)Mona Rejino


Nocturne

1

mp

1 2 1 3

4

12

4

5

simile

4

5

5

13

5

13

5

1

2

1

2

1

9

mp

1 2 5 1 5

4

4

5

13 3 5

1

2

13

5

15

Andante con moto (q = 100-108)

Reverie

Mona Rejino


p

3

5

2 3 2

5 2 1 5 2

4

5 2

5 2

7 3 2 4

5 2 5

5 1

5 2

10

1 2mf

41

52

5 2 2 1

2

5 2

9

Moderate swing (q = 120-138)

Late-Night Jazz

Mona Rejino


mf

=

3 _

12

1

4

1 2

3

7

5

3 2

2nd timeto Coda

10

3 52

4

4

18

Lively, with humor (h = 76-84)

Carnival Rag

Mona Rejino


L.H.

p2

5

2

5

3 2

2

42 1

4

51

f

52

5

4

mp

31

3 13

1 2 3 4

3

1

5

7

31 1 3 4 2 1

2 4

3

2

3

10

2 1

31

3 4 3

f

1

2 1 2

3

2

3

1 2 1

2

1

3

12


FROM THE COMPOSERThe piano is my first love, and I devote most of my time onperforming, teaching, and composing for the instrument. Ienjoy composing a wide variety of styles, depending on themood I'm in on any given day. I would encourage all stu-dents to compose music for their own enjoyment and theenjoyment of others. It is a terrific creative outlet!

Advice for TeachersI’m aware of the difficulties teachers face when teachingintermediate literature, especially jazz. Some of the chordsand voicings may not be as familiar to some students. Tocounter this, I strive to keep a “patternized” approach tomuch of my music, especially jazz. Tell your students toidentify any patterns which are readily recognizable.

Inspiration Behind Mike’s MusicThe inspiration for a great deal of my music is Nature itself.I love nothing more than to go to a cabin in the woods tobecome inspired. I also get inspired to write by daily eventsoccurring in my life, whether it is viewing an Autumn Sunsetor going out to a Friday Night Café (two of my solo sheets).My wife, Christy, constantly inspires me with her continuallove and support. Most of all, I am grateful to God for theability to share my music with others.

40

MIKE SPRINGER maintains an activeschedule as a pianist, teacher, composer/arranger, and adjudicator in the Dallas,Texas area. His students have won topprizes in many competitions in the fields ofperformance and composition. Mike hascomposed and arranged extensively for

piano, electronic media (MIDI), vocal ensemble, and windensemble. He has arranged and performed music for nation-al television commercials and documentaries. Several of hispiano solos have been chosen for the National Federation ofMusic Clubs. Mike is an accomplished performer in classicaland jazz styles. He has produced and performed on two ofhis own CDs as well as those of other performing artists, andhas performed in the United States, South America andEurope. He is currently the pianist at Trietsch MemorialUnited Methodist Church in Flower Mound, Texas. Mikestudied piano with Dr. Pamela Paul at the University of NorthTexas, where he earned his Bachelor of Music and Master ofMusic degrees in Piano Performance.

Christmas JazzSix Carols for Piano SoloArranged by Mike Springer


00296525/$6.95

Spice up your Christmas party orseasonal recital with these jazz-inspired arrangements of familiarcarols. Superb fare for both

teenage and adult pianists.

6 solos: Away in a Manger • Deck the Hall • It Came Upon theMidnight Clear • Jingle Bells • Silent Night • We Wish You aMerry Christmas.

MIKE SPRINGER

Christmas Jazz

Quietly, with freedom (q = 72-80)

Away In A Manger

Copyright © 2004 by HAL LEONARD CORPORATIONInternationsl Copyright Secured All Rights Reserved

Music by James R. MurrayArranged by Mike Springer

5

p

421 5 3 4

21

With pedal

5 2 1

4

5 4 3

2 1

5 21

2 1

4

5 5

mp

5 5

4

5

3

5

2

5

2

5

8

5

p

5 5

215

3 125

125

12

2

4

5

15

1 2

15

215

2

2


41

Christmas Jazz

Christmas Jazz

Christmas Jazz

Christmas Jazz

Peacefully (q = 60)

Silent Night


Music by Franz GruberArranged by Mike Springer

51

mp

52 5 5

1

52

With pedal

2 1

1

2

35

4

2

3

rit.

5 3

21

5

5

4

1 5

1

L.H.

5

1 8va

5

9

loco421

a tempo

421

5

1

4

1

2

13

5

1

1

5

2

5

3

2

1

432

15

15

15

25

15

2 3

5 1

5

5

14

Jazz Waltz (q = 120-132)

We Wish You A Merry Christmas


Traditional English CarolArranged by Mike Springer

p

421

=

3 _

4

4

4

5

2

3

5

mf

4

5

5

5

1

mp

4

9

4 1

cresc.

4 1

5

5

123

5

123

3

5 1

23

3

13

5 4 1

1

mf

4

5

123

14

12

21

Caribbean style (q = 132) (iq = iq)

Deck The Hall


Traditional Welsh CarolArranged by Mike Springer

531

f

5 4

42

1

3

4

3

3

4

mf

53

42

5

5

73

1

42

3

21 4

2

521

5

1

5

10

42

3

2 1

2 1

4

6

Slow swing (Big Band Style) (q = 88)

Jingle Bells


Music by James PierpontArranged by Mike Springer

1

f

521

5 4

21

=

3 _

1

1

5

5 4

41

5

1235

4

2

24

3

4

5

5 5 431

2

1

1235

1 5

7

521 5 4

5

1

1

5

5 4

21

125

1 5

124

5

10

1

1

5

2

24

1

10


FROM THE COMPOSERThe music I write expresses mostly the emotional part ofmyself. This is not to say that the intellect does not step in tomold those emotions into a musical entity. I feel the need ofstronger images and symbols; music is the only thing I’vefound so far that can do that.

Advice for Teachers My main goal when I write music for the piano is to stir stu-dents' imagination and to make them participants of theemotions engendered in the piece and their imagery. Everyinterpretative aspect can be linked to this idea. Therefore, thebest advice I can give to teachers is to have students internal-ize the images and emotions and talk about them, beforeeven attempting to tackle the technical aspect of the piece.

The Inspiration Behind Christos’ MusicI sit at the piano and “get into the groove” by simply let-ting my fingers follow the path, not unlike a blind person. Iam often amazed and surprised how far they can lead meand how much they can dig out. I then realize that thispiece may express such feelings, ideas, and images that Iexperienced at one point. Only then do I “suggest” a title,which of course cannot and does not represent everythingI felt while I was composing it.

42

CHRISTOS TSITSAROS, contributingcomposer and arranger for the HalLeonard Student Piano Library, is AssociateProfessor of Piano Pedagogy at theUniversity of Illinois at Urbana-Champaign. The recipient of numerousscholarships and awards, Dr. Tsitsaros has

appeared in recitals, chamber music concerts and as soloist,and has participated in various workshops and conferencesas a performer and lecturer in Europe and the United States.He gave his New York debut at Weill Carnegie Hall in 2001.

Poetic Moments8 Character Pieces for Piano SoloChristos Tsitsaros


00296403/$7.95

This intermediate-level book con-tains eight engaging, lyrical piecesin Romantic style. Christos

Tsitsaros is a masterful composer, and his gift for musical-poetic imagery is evident in each of these finely craftedgems for piano solo. The titles come to life through expres-sive, pianistic writing, ranging from a tender lullaby to a rol-licking train ride. Intermediate (HLSPL Level 5+); Keys: Gm,GM, DM, Dm, Fm, AM, GM, Cm; pieces are 3 – 5 pages inlength; intermediate-level technical skills and interpretiveimagination needed. 40 pgs.

8 Solos: Migrating Bird • Lullaby • Dance Of The Sprites •Valse Bluesette • The Little Carousel • Butterfly Rag •Unfinished Melody • Westbound Train.

CHRISTOS TSITAROS

Poetic Moments

35102 Comp Showcase Broch 2/22/05 9:34 AM Page 42

43

Songs WithoutWordsNine Character Pieces forPiano SoloChristos Tsitsaros


00296506/$7.95

These elegant solos can be per-formed at various levels of

advancement, as their emotional content far exceeds theirtechnical demands.

9 solos: Arabesque (Autumn Storms) • Love’s Sorrow •Milongo De Los Ninos • Mirage • On The Wings Of A Song •Scherzo (Sledding) • Searching • Sounds Of The Rain • A Winter Fable.

Light and lively (iq = q e) (q = 176)


K

Butterfly RagChristos Tsitsaros

3

mf

3

5

2

simile

5

4

3 21 2 3

3

3

3

2

7

5 1 2

1 1 2 5 2

5

2 1 4 1 3

3

2

4

2

1

3

10

4 4

241 3 2

1 2 3

2

30

Andante con moto (q = 100)


MirageChristos Tsitsaros

p

tranquillo

5

1 2 5 2 1 1 3 2 5

5

1

simile

4

mp

espressivo

4 1 2

5 2

7

1 1 2

5

4

1

52

p

1 2

5

10 5

(2)

51

52

51

51

(5) 2

51

(5) 2

1

18

Allegro con anima (q = 112-126)


On The Wings Of A SongChristos Tsitsaros

p

5 5

5

senza ped.

3

3

mp

cantabile

5

2 1 3 2

4 sempre legato

5

7

1

5 3 23

1

5 3

3

mf

5

4

22

Songs Without Words

Poetic Moments

Songs Without Words


44

Composer, lyricist, pianist, and teacher,EUGÉNIE ROCHEROLLE began an earlycareer in publishing with choral and bandmusic. In 1978, with the success of herfirst piano solo collection, she soon estab-lished herself as one of the leadingAmerican composers of piano repertoire.

Her music is widely distributed throughout the UnitedStates and abroad. A native of New Orleans, she graduatedfrom Newcomb College of Tulane University with a BA inmusic. Her junior year was spent in Paris where she had aclass with the late Nadia Boulanger. She was honored as the1995 outstanding Newcomb alumna.

FROM THE COMPOSERWhether composing or arranging, my music comes firstand foremost from the heart, which enables me to expressa wide range of human emotions.

Advice for Teachers and StudentsI’ve been told that a good bit of theory can be taught frommy music. Teachers should begin by emphasizing the struc-ture and adherence to form.

The Inspiration behind Eugénie’s MusicThe sheer joy of the creative process and connecting withothers through my music is what inspires me the most.

Melody Times Two Classic Countermelodies forPiano Duo Arranged by Eugénie Rocherolle


00296360/$12.95

This collection of classic counter-melody songs features four ele-gant and thoroughly entertaining

arrangements for two pianos, four hands. Masterfullyarranged by renowned composer Eugenie Rocherolle, theseclassic tunes will capture the musical imagination of stu-dents young and old! The folio includes two completescores for performance. Intermediate/Late-IntermediateLevel.

4 Duos: Baby, It’s Cold Outside (F. Loesser) • Play A SimpleMelody (I. Berlin) • Sam’s Song (Lew Quadling/ Jacki Elliott)• You’re Just In Love (I. Berlin).

Moderately slow (q = 88)

Moderately slow (q = 88)

Words and Music by FRANK LOESSERArranged by Eugénie Rocherolle

from the Motion Picture NEPTUNE’S DAUGHTER

© 1948 (Renewed) FRANK MUSIC CORP.This arrangement © 2004 FRANK MUSIC CORP.

All Rights Reserved

Baby, It’s Cold Outside

Piano I mf

4

=

3 _

With pedal

=

3 _

mf

4

4 3

Piano II

With pedal

poco rall. poco rit.

4

2

1 4

3

a tempo

1

4

4

4 2

1

poco rall.

a tempo

1

poco rit.

1

4

6

EUGÉNIE ROCHEROLLE

Melody Times Two


Jerome KernClassicsArranged by Eugénie Rocherolle


00296577/$12.95

Students young and old will relishthese sensitive stylings of enduringclassics. Arranged by renownedcomposer Eugénie Rocherolle, this

collection is both elegant and entertaining.

10 Solos: All the Things You Are • Bill • Can’t Help Lovin’ DatMan • I’ve Told Ev’ry Little Star • The Last Time I Saw Paris •Make Believe • Ol’ Man River • Smoke Gets in Your Eyes • TheWay You Look Tonight • Who?

Lilting (q. = 120)

Lilting (q. = 120)

Words by JACK ELLIOTTMusic by LEW QUADLING

Arranged by Eugènie Rocherolle

Copyright © 1950 by Southern Music Pub. Co. Inc. and Sam Weiss Music Inc.Copyright Renewed

This arrangement Copyright © 2004 by Southern Music Pub. Co. Inc. and Sam Weiss Music Inc.International Copyright Secured All Rights Reserved

Sam’s Song

Piano I

=

3 _.

Piano II mf

=

3 _.

51

31

3

1

3

4

mf

3 2 2

3

4

4

4 5

2

3

2

pedal optional2

24

Moderately fast (h = 66)

Make Believe

Copyright © 1927 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.Copyright Renewed

This arrangement Copyright © 2005 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.All Rights Reserved Used by Permission

from SHOW BOAT

Lyrics by OSCAR HAMMERSTEIN IIMusic by JEROME KERN

Arranged by Eugénie Rocherolle

4

21

mp

421

2 2

poco rit.

Warmly

7

2

5

3

1

a tempo

2

1

2

10

simile

22

Moderately (q = 108)

Smoke Gets In Your Eyes

Copyright © 1933 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.Copyright Renewed

This arrangement Copyright © 2005 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.All Rights Reserved Used by Permission

from ROBERTAWords by OTTO HARBACH

Music by JEROME KERNArranged by Eugénie Rocherolle

4

mf

5

poco rit.

Slower, freely (q = 88)

4

3

mp

4

3

1

1

7

poco cresc.

2

531 3

5

dim.

2 1 2

poco accel. poco rit.

10

1 2

3

33

Jerome Kern Classics

Melody Times Two

Jerome Kern Classics


Complete Product ListingEARLY-ELEMENTARY (LEVEL 1))Jazz Prelims/Bill Boyd 00290032 $5.95

ELEMENTARY (HLSPL LEVEL 2)Jazz Starters I/Bill Boyd 00290425 $6.95*You Raise Me Up: Contemporary Christian Songs

for Solo Piano /arr. Deborah Brady 00296576 $7.95

LATE ELEMENTARY (HLSPL LEVEL 3)Coral Reef Suite/Carol Klose 00296354 $5.95Expeditions In Style/Bruce Berr 00296526 $6.95Imaginations In Style/Bruce Berr 00290359 $5.95Jazz Starters II/Bill Boyd 00290434 $6.95Jazz Starters III/Bill Boyd 00290465 $6.95Mouse On A Mirror/Phillip Keveren 00296361 $6.95Play The Blues!/Luann Carman 00296357 $7.95Shifty-Eyed Blues/Phillip Keveren 00296374 $6.95Tex-Mex Rex/Phillip Keveren 00296353 $5.95The Toymaker’s Workshop (1P/4H)/Deborah Brady 00296513 $5.95Traditional Carols For Two (1P/4H)/arr. Carol Klose 00296557 $6.95

EARLY INTERMEDIATE (HLSPL LEVEL 4)Explorations In Style/Bruce Berr 00290360 $6.95Fanciful Waltzes/Carol Klose 00296473 $7.95Jazz Bits & Pieces/Bill Boyd 00290312 $6.95Portraits In Style/Mona Rejino 00296507 $6.95Think Jazz! A Jazz Piano Method/Bill Boyd 00290417 $9.95Sounds Of Christmas Vol. 1 (Lvl. 4-5)(1P/4H)/arr. R. Byers 00296406 $6.95Sounds Of Christmas Vol. 2 (Lvl. 4-5)(1P/4H)/arr. R. Byers 00296529 $6.95The Twelve Days Of Christmas (Lvl 4-5)/arr. Deborah Brady 00296531 $6.95World Gems: International Folk Songs

for Piano Ensemble/arr. Amy O’Grady 00296505 $6.95

INTERMEDIATE (HLSPL LEVEL 5)American Impressions/Jennifer Linn 00296473 $7.95Animal Tone Poems/Michele Evans 00296439 $6.95Christmas Jazz/arr. Mike Springer 00296525 $6.95Concerto For Young Pianists BK/CD (2P/4H)/Matthew Edwards 00296356 $12.95

NFMC Festival ChoiceDakota Days/Sondra Clark 00296521 $6.95Favorite Carols For Two (1P/4H)/arr. Sondra Clark 00296530 $6.95Jazz Delights/Bill Boyd 00240435 $6.95Jazz Fest/Bill Boyd 00240436 $6.95Jazz Sketches/Bill Boyd 00220001 $6.95Jerome Kern Classics/arr.Eugénie Rocherolle 00296577 $12.95Les Petites Impressions/Jennifer Linn 00296355 $6.95Melody Times Two (2P/4H)/arr. Eugénie Rocherolle 00296360 $12.95 Monday’s Child/Deborah Brady 00296373 $6.95Poetic Moments/Christos Tsitsaros 00296403 $7.95Romp! BK/CD (Kybd. Ensemble)/Phillip Keveren 00296549 $9.95 Romp! BK/GM Disk (Kybd. Ensemble)/Phillip Keveren 00296548 $9.95 Three Odd Meters (1P/4H)/Sondra Clark 00296472 $6.95Songs Without Words/Christos Tsitsaros 00296506 $7.95

HL90003338

#73999-GHJEHc

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subject to change without notice.

COMPOSERSHOWCASE

HAL LEONARDSTUDENT PIANO LIBRARY

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Documents

95871 Comp Showcase Broch - Hal Leonard LLC35102 Comp Showcase Broch 2/21/05 5:07 PM Page 1 BRUCE BERRhas been teaching music to children and adults for over thirty years. He has taught