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CONTENTSCONTENTS CD Track Pageg Keyboard Instruments for the Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

During the Baroque and Classical Eras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

During the Romantic and Modern Eras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

The Sonatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Sonatina in C Major (First Movement), Op . 157, No . 4 (Classical) Spindler . . . . . . . . . . . .1 . . . . . . . . . . . . . . . . . . . 6The Siciliano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Siciliano (Romantic) Diabelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 . . . . . . . . . . . . . . . . . . . 8Images and Imagination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Lame Witch Lurking in the Forest, Op . 31, No . 9 (Modern) Rebikov . . . . . . . . . . . . . .3 . . . . . . . . . . . . . . . . . . 10The Musette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Musette, BWV 808 (Baroque) J . S . Bach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 . . . . . . . . . . . . . . . . . . 12The Fantasia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Fantasia in E Minor, TWV 33:21 (Baroque) Telemann . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 . . . . . . . . . . . . . . . . . . 13Franz Joseph Haydn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Allegro in G Major, Hob . XVI:8 (Classical) Haydn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . . . . . . . . . . . . . . . 14The Polonaise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Polonaise in F Major (Classical) W . A . Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 . . . . . . . . . . . . . . . . . . 16Ornament: The Slide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Minuet in D Minor, BWV Anh . 132 (Baroque) attr . J . S . Bach . . . . . . . . . . . . . . . . . . . . . . .8 . . . . . . . . . . . . . . . . . . 18Social Dancing in the 19th Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

German Dance in B b Major, WoO 13, No . 6 (Classical) Beethoven . . . . . . . . . . . . . . . . . .9 . . . . . . . . . . . . . . . . . . 20Peter Ilyich Tchaikovsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Old French Song, Op . 39, No . 16 (Romantic) Tchaikovsky . . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . 22Sound Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

At the Blacksmith, Op . 8, No . 5 (Modern) Maykapar . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 . . . . . . . . . . . . . . . . . . 24Cécile Chaminade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Gavotte, Op . 123, No . 5 (Modern) Chaminade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 . . . . . . . . . . . . . . . . . . 27The Ländler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Ländler in A Major (Classical) Steibelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 . . . . . . . . . . . . . . . . . . 30Valse Mignonne (Little Waltz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Valse Mignonne (Modern) Pachulski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . . . . . . . . 32g Robert Schumann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

About The Wild Rider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35The Wild Rider, Op . 68, No . 8 (Romantic) Schumann . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . . . . . . . . . 36First Loss, Op . 68, No . 16 (Romantic) Schumann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 . . . . . . . . . . . . . . . . . . 38

The Minuet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Minuet in G Major, BWV Anh . 116 (Baroque) Anonymous . . . . . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . . . . . . . . . . 40Carl Philipp Emanuel Bach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

March in D Major, BWV Anh . 122 (Baroque) C .P .E . Bach . . . . . . . . . . . . . . . . . . . . . . . . .18 . . . . . . . . . . . . . . . . . . 42Romantic Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Rose Rock, Op . 205, No . 8 (Romantic) Gurlitt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . 44Sonata-Allegro Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Sonatina in F Major, Op . 168, No . 1 (Classical) Diabelli . . . . . . . . . . . . . . . . . . . . . . . . .20 . . . . . . . . . . . . . . . . . . 46

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86

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Warm-Up Patterns in A Harmonic Minor, pp. 10–12, More about Slurs, Siciliano Rhythm, p. 13, Emphasizing Notes, p. 14

Track 2

2

8

The Siciliano

Originally a dance from Sicily, the siciliano became a song-like instrumental piece. In a slow

6

8 or 12

8 meter, it was associated with pastoral (rural) scenes with a somewhat sad melody, suggesting a shepherd’s flute.

There is frequent use of the rhythm pattern.

Play the ornaments ahead of the beat.

Pastoral Scene with Cart and Horses by James Meadows (1828–1888)

SicilianoAnton Diabelli

(1781–1858)

ROM

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88

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Track 9

9

German Dance in B b MajorLudwig van Beethoven (1770–1827)

WoO 13, No. 6

CLASSICA

L

2020Warm-Up Patterns in B b Major, pp. 34–36, Single and Multiple Grace Notes, p. 37

Social Dancing in the 19th Century

Ballrooms that had been limited to aristocracy were opened to the public near the end of the 18th century in Vienna. Dancing by the upper middle classes became part of social life throughout Europe at this time with over 700 dance halls in Paris alone.

g The German dance was a popular ballroom dance for couples with turns and intertwined arms. It had a “step” on beat 1 and a “hop” on beat 3.

g Franz Joseph Haydn, Wolfgang Amadeus Mozart, Beethoven, and Franz Schubert wrote many sets of German dances (groups of three, six, or twelve) that were used for dancing and amateurs to play.

Play the ornaments ahead of the beat.German Dance (1808)

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b

b

43

43

‰Allegretto

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9

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Valse MignonneHenryk Pachulski

(1859–1921)

32

MO

DERN

32Warm-Up Patterns in F Major, pp. 26–28, Pedaling Triple Meter Dances, p. 47

Valse Mignonne (Little Waltz)

The waltz became the most popular Romantic era ballroom dance. In triple meter, faster than the minuet or ländler, it is felt “in one” beat per measure.

From Poland, Henryk Pachulski became a piano professor at the Moscow Conservatory. He wrote many short pieces for piano, including this “little waltz.”

Henryk Pachulski

Track 14

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Robert Schumann’s (1810–1856) life and career represents the “tragic Romantic artist.” His hope of being a concert pianist was destroyed when his right hand was permanently injured. His music was not widely accepted during his lifetime, and his final years were spent in a mental asylum. Yet today his music is widely performed and loved.

g His greatest happiness was his marriage to Clara Wieck (1819–1896), the most famous woman pianist of the 19th century.

g Schumann created the Romantic piano suite or cycle—short piano works connected through an idea or theme.

g Schumann’s Album for the Young is considered to be among the greatest piano teaching music of all time. Album for the Young was written for his oldest daughter Marie’s (1841–1929) seventh birthday.

g Robert wrote that the pieces came “from family life, and had wrapped themselves around [his] heart.”

g When teaching their daughter Eugenie (1851–1938), Clara said, “When he saw you children at play, little pieces of music grew out of your games.”

CONTENTSROBERT SCHUMANN

3535

About The Wild Rider

Eugenie Schumann studied each piece of her father’s Album for the Young with her mother. She stated that Clara complained that her sforzandos were meaningless and anemic in The Wild Rider. Explaining, Clara said, “When a breakneck rider gallops about the room, he knocks his hobby-horse against chairs and tables.”

Children of Robert and Clara Schumann (1855). Back left to right: Ludwig, Marie, Elise,

Felix in Marie’s arms, Ferdinand, and Eugenie.

Robert Schumann

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b

b

44

44

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theme a

Moderato cantabile

EXPOSITION

dolce

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Key: F Major (I)

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Sonatina in F Major

Anton Diabelli (1781–1858)

Op. 168, No. 1

CLASSICA

L

4646Warm-Up Patterns in F Major, pp. 26–28, Putting Things Together, p. 56

Sonata-Allegro Form

Anton Diabelli was an Austrian composer, music publisher, and teacher of piano and guitar. His publishing company in Vienna, Diabelli & Company, gained international fame through the first publication of the music of Franz Schubert.

g Diabelli’s childhood education was as a choirboy and he later studied composition with Michael Haydn (1737–1806), the brother of Franz Joseph.

g Although Diabelli lived into the Romantic era, his sonatinas are in the Classical style. This one is in sonata-allegro form.

Anton DiabelliSonata-Allegro Form

Section Exposition Development Recapitulation

Theme a b a b

Key relationship I V V I

(F major) (C major) (C major) (F major)

.

.

.

.

.

.

.

.

.

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Track 20

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