P i a n o L i t e r at u r e book 1

CORRELATION CHART
to the Piano Adventures Method
®

by Nancy and Randall Faber

 The Developing Artist Correlation Chart to the Piano Adventures Method

Piano Literature Book 1

Canario. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Little Prelude. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Level 3A: Looking-Glass River Level 3A: Lunar Eclipse
Level 3B: Primary Chords in A Minor Level 3B: Legend of Madrid

Procession in G, Gavotte in C. . . . . . . . . . . . . . . . . 4 Melody for Left Hand . . . . . . . . . . . . . . . . . . . . . . . 14

Level 3A: Court Dance Level 3A: Scarborough Fair
Level 3B: Energico Level 3B: Cat Patrol

Two Preludes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Level 3A: Amazing Grace
The Highlander. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Level 3B: Tropical Island
Level 3A: Court Dance (Rock Variation)
Level 3B: Phantom of the Keys Waltz for Four Hands . . . . . . . . . . . . . . . . . . . . . . . 16
Level 3A: Sleigh Ride Holiday
Bagatelle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Level 3B: Gavotte
Level 3A: Court Dance
Level 3B: Fiesta España The Hunt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Level 3A: Snowflake Rag
Minuet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Level 3B: The Return
Level 3A: Morning
Level 3B: Snowfall Tarantella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Level 3A: Tchaikovsky’s Theme
Little Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Level 3B: The Return
Level 3A: Interval Warm-up
Level 3B: Rage Over a Lost Penny

Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
On the Ocean Floor. . . . . . . . . . . . . . . . . . . . . . . . . 19
Level 3A: Land of the Silver Birch
Level 3A: Sakura
Level 3B: Snowfall
Level 3B: Swing Low, Sweet Chariot

Quadrille. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Busy Machine . . . . . . . . . . . . . . . . . . . . . . . . . 20
Level 3A: Cossack Ride
Level 3A: Cossack Ride
Level 3B: Sea Chantey
Level 3B: Cat Patrol

Sonatina in G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Shepherd Pipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Level 3A: Willow Tree Waltz
Level 3A: Land of the Silver Birch
Level 3B: Liebestraum
Level 3B: Fantasia Con Spirito

Adagio and Allegro. . . . . . . . . . . . . . . . . . . . . . . . . 12

Pantomine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Level 3A: (See Teacher Note)
Level 3A: (See Teacher Note)
Level 3B: Adagio and Allegro
Level 3B: Pachelbel Canon

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Teacher Note: These correlations are suggestions only.

2
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Canario, p. 4 Looking-Glass River, p. 12 Primary Chords in A Minor,

• Key of G major • Key of C major p. 7
• Alberti bass at an • Alberti bass as an andante • L.H. Alberti bass exercise in
allegretto tempo accompaniment for a singing the key of A minor
• Dance-like rhythms melody • Legato L.H. primary chords
• Short melodic slurs • Longer melodic phrases

The Alberti Bass top top

Baroque The Alberti bass is a common L.H. broken chord pattern

1600 - 1750 named after the Italian composer Domenico Alberti.
middle

• Notice the pattern: bottom-top-middle-top. bottom

Warm-up
Canario
? w œ œ œ œ œ œ œ œ œ œ œ œ
I chord
w
w 1
3
5 w
Joachim Von der Hofe
F P
5 1 3 1 5 1 3

? w œ œ œ œ œ œ œ œ œ
(17th century, dates unknown)
IV chord
Allegretto w
w 1
œ œ œ w
#
2

& c œ œ œ œ
3 3

œ œ œ œ œ œ œ œ œ œ
1 5

œ œ F
4

P
5 1 2 1 5 1 2

f V7 chord

?#c œ
œ œ œ œ œ œ œ œ œ œ œ ? ww
w
1
2
œ
œ œ œ
œ
œ œ œ
œ
œ œ œ
w
5

F P
5 1 2 1 5 1 2

• Play the I chord Alberti bass example to end.

5 1 3 1 4

# œ Ternary Form
4

œ
2 3

& œ ˙ œ œ œ œ œ œ œ œ œ Ternary form or AB A form means three sections—

an A section, B section, and a return to the A section.
p
œ œ œ œ œ œ œ œ
If the A section is slightly changed, we label it A1.

?# œ œ œ œ
• Write A, B, or A1 in the boxes given.
4 2 5 1 Looking-Glass River
Key of ____ Major
Andante ( Π= 112-120)

& 44 ˙
(light thumb)

. œ ˙
1 1

# œ œ ˙ œ œ œ œ
7

œ œ œ œ œ œ ˙
5

& ˙
3

P
f ? 44 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ .
œ œ œ œ œ œ œ œ œ œ œ
?# œ œ Œ (p) 1 3 1 4
5
1 5

FF1030 12 Theory pp.4-5 ?Tech pp.8-9 Perf pp.4-5 Sight pp.10-13 FF1087

Quick Thought: The Alberti bass can have many moods; a quick dance accompaniment as in
“Canario,” a smooth harmonic backdrop as in “Looking-Glass River,” or a
primary chord pattern in A minor that uses gentle L.H. rotation.

3
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Procession in G, p. 6 Court Dance, p. 10 Energico, p. 8

Gavotte in C, p. 6 • Key of C major • Key of A minor
• Keys of G and C major • Binary form • A B A coda
• Binary form • Independence of the hands • Fast, articulated R.H. triplets
• Independence of the hands • Articulated dance rhythms • L.H. primary chords in
• Articulated dance rhythms with short slurs and staccatos A minor with crisp staccatos
with short slurs and staccatos

Procession in G Binary Form or A B Form

Remember, musical form is the
Michael Praetorius overall structure of a piece.

Stately
(1571–1621)
Binary means two parts or sections. Court Dance*
#4 ˙ œ œ œ . Jœ œ œ ˙ œ œ œœœœ˙
(5 1)

..
Both the A section and B section repeat.
2

& 4 .. A .. .. B ..
4 4 1 4 4 3 2 1 2

p
f
˙ œ. . ˙ œœ œ ˙ œ. . ˙
? # 44 œ œ œ
section section

œ œ .. Alexander Reinagle
(1756-1809, England)
A original form
5 1
5
2 5 1 2
Moderato ( Π= 104)

2 œ. œ.
section

&4 œ œ œ œ œ œ œ œ œ œ
4 4

# . œ œ . . .
5

œ œ œ œ œœœ œ œ .. f
2 3

& .œ ˙ ˙ ˙
4

? 2 œ. œ. œ œ œ
Count: 1 + 2 + 1 + 2 + 1 + 2 + etc.

f-p on repeat 4 œ ˙
? # .. œ œœ˙ œ œœ˙ œ œœ˙ œ œœ˙ .. 3 2 5

. œ.
& œ œ œ œ œ œ œ ˙ ..
5 4 4

Gavotte in C ? œ. œ. œ œ œ œ ˙ ..
Georg Philipp Telemann 3
(1681–1767)

4 .
Moderato
œ. œ œ œ œ œ œ ˙ B
&4 œ œ
5

œ
3 4 1 2
9 section

& .. œ œ œ œ. œ. œ. œ œ œ œ œ œ
2 1
1 4 2 3

f . . .
? 44 œ. ˙ œ. p
œ. ˙ ˙ œ. ? .. ˙ ˙
(light thumb)
˙
3 5 5 4 5 1
92% reduction
˙
view at 109% and 218%
5 4

œ.
13

. œ.
˙ œ œ œ œ œ œ œ. œ œ œ œ œ & œ œ œ œ œ ˙ ..
3

œ œ
4 4

& œ
3 4 2

œ. œ.
f
? œ. œ. œ œ œ œ ˙ ..
? œ. œ. ˙ œ. œ. ˙
˙
1 1 5
5 (2)
3
*from 24 Short and Easy Pieces

FF1030 10 Perf pp.2-3 FF1087

Quick Thought: Binary form is often used for dances of various kinds. Notice how the articulations
help to give the music rhythmic vitality.

4
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

The Highlander, p. 8 Court Dance Phantom of the Keys, p. 32

• Key of G major (Rock Variation), p. 11 • Key of A minor
• Binary form • Key of C major • R.H. and L.H. grace notes
• “Bagpipe” 5th drone with a • Binary form • Highly articulated “caper
grace note • Driving L.H. bass that on the keys” that requires
• Articulated melody with requires precise rhythmic fast fingerwork and crisp
short slurs and staccatos coordination between staccatos
the hands

Many composers today combine elements

The Highlander of rock and jazz with classical music.
(La Montagnarde)
This rock variation uses a steady L.H. beat
with accents and snappy rhythms.
Court Dance
Jean-Joseph Mouret
(1682–1738)
(Rock Variation)
Moderato
#4 œ. œ.
Fast beat ( Ó = 104) Reinagle—Faber

& 4 œ œ œ œ œ. œ .
1 2 2 1

œ œ œ œ
1 2 4 2

& 44 ˙˙ Œ œ œ œœ œ œ œ œ œ
5

˙
5 5 5 jump!
> ˙
1 2

˙
1 1 1 4 1 2

f ˙ ˙ ˙ > . . .
? # 44 Ó f
œw œw ? 44 œ œ œ œ œ œ œ œ œ. >Jœ ˙
*2
w
#j
1
w
#j
. . . . . . . . ∑
5
5 2 1

#
œ. œ. œ. .
3 5

& ˙˙ Œ œ œ œ œ œ ˙. Œ ..
5

œ œ œ ˙ ˙
2 1 2

œ œ œ
1

& ˙
3 2

> ˙ ˙ ˙ >
>œJ ˙
?# œw # œj w
?œ œ œ œ
. . . . œ. œ. œ. œ. œ. Ó œœœ̆ Œ ..
#j
w w 2

9 5 5 5 5

& .. œœœ œœœ œœœ œœœ œœ Œ œœœ œœœ œœœ œœœ œœ œœ œœ Œ

3 3 3 3

# œ. œ. œœ œœ
5 1 1 1 1

œ œ. œ œ œ. œ. œ œ. œ.
2

&
>
œ œ œ œ . . . > . . . >
p
? .. œ œ œ >œ œ œ. œ. Œ œ. œ. œ. œ
> œ œ. œ. Œ
?# œw # œj w
. . .
#j
w w 2
4

.
13

& ˙˙ ˙ Œ œ œ œ œ œ ˙ Ó ..
5

˙ ˙
1 2

#
œ. œ. œ. ˙ ˙ ˙ >
7

& œ ˙ .. f
> >Jœ ˙
?œ œ œ œ
. . . . œ. œ. œ. œ. œ. Ó œœ̆œ Œ ..
?# œw # œj ˙ ..
#j
w ˙ D I S C O V E R Y

Do you prefer the original or the rock variation of Court Dance? _____________
*The student may wish to initially learn this piece without the L.H. grace note. Can you memorize your favorite one?

FF1030 FF1087 11

Quick Thought: Precise staccatos give music vital energy and an exciting sense of rhythm.
Articulation is to rhythm as dynamics are to sound.

5
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Bagatelle, p. 10 Court Dance and Rock Fiesta España, p. 10

• Key of C major Variation, pp. 10-11 • Key of A minor
• Binary form • Key of C major • A B A1 coda
• 5-finger patterns centered • Binary form • L.H. broken-5th pattern
around tonic and dominant Court Dance: requiring a light L.H. thumb
• Light L.H. thumb on the • Staccato and legato • Quick hand shifts
repeated notes articulations • Pedaling for coloristic effect
• Contrapuntal lines with Rock Variation:
staccato and legato • Parallel R.H. 6ths,
syncopation, and accents

Classical Many composers today combine elements

of rock and jazz with classical music.
1750 - circa 1830
This rock variation uses a steady L.H. beat
with accents and snappy rhythms.
Court Dance
(Rock Variation)
Fast beat ( Ó = 104) Reinagle—Faber

.
& 44 ˙˙ Œ œ œ œœ œ œ œ œ œ
5

˙
5 5 5 jump!

˙
1 2

˙
1 1 1 4 1 2

Bagatelle ˙ ˙ ˙ > . . .
f
? 44 œ œ œ œ œ œ œ œ œ. >Jœ ˙
. . . . . . . . ∑
James Hook
5 2 1
(1746 –1827)

Allegro
4 . œ. œ. œ. .
& 4 œ œ œ œ œ œ œ œ œ
5

& ˙˙ Œ œ œ œ œ œ ˙. Œ ..
5

˙ ˙
4 1 2

˙ ˙ ˙ >
f ˙
? 44 œ œ œ œ œ. œ. .
œ œ œ œ œ œ. ?œ œ œ œ œ. œ. œ. œ. œ. >œJ ˙
Ó œœœ̆ Œ ..
. . . .
2
5

9 5 5 5 5

& .. œœœ œœœ œœœ œœœ œœ Œ œœœ œœœ œœœ œœœ œœ œœ œœ Œ

3 3 3 3

œœ œœ
1 1 1 1

œ œ œ œ ˙ œ œ. œ. œ œ. œ.
3 4

& œ œ œ œ œ œ œ œ
5
. . . > . . . >
p
? .. œ œ œ >œ œ œ. œ. Œ œ. œ. œ. œ
> œ œ. œ. Œ
œ œ œ œ . . .
? ˙ ˙ ˙ 2
4

.
3 13

Œ œ œ œ œ œ
4

& ˙˙ ˙ ˙ Ó ..
5

˙ ˙
1 2

˙ ˙ ˙ >
f
. œ. œ. œ. >Jœ ˙
5

& œ œ œ œ œ œ œ œ œ ?œ œ œ œ
. . . . œ. œ. œ. œ. œ. Ó œœœ̆ Œ ..
p
? œ œ œ œ œ. œ. .
œ œ œ œ œ œ. D I S C O V E R Y

Do you prefer the original or the rock variation of Court Dance? _____________
Can you memorize your favorite one?

FF1030 FF1087 11

Quick Thought: In most L.H. accompaniment patterns the thumb is played lightly. This helps create
a natural rhythmic flow for the performance tempo.

6
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Minuet, p. 12 Morning, p. 16 Snowfall, p. 12

• Key of C major • Key of F major • Key of C major
• Binary form • Lyric flowing phrases shaped • A A B A1 coda
• Longer phrases in the with cresc. and dim. • Long phrases with
A section • Blocked chord broken R.H. 3rds
• Simple counterpoint accompaniment • Simple L.H. harmony using a
• Staccato dance rhythms in • Connected pedaling broken-5th pattern
the B section • Connected pedaling

12

Edvard Grieg wrote the music for the theatre play Peer Gynt by Henrik Ibsen.
Minuet This colorful folk-tale relates the adventures of Peer Gynt, a Norwegian mountain boy,
as he journeys to the four corners of the world.
Morning was written for Act IV of the play,
with Peer Gynt having arrived in Africa.
Morning
James Hook • First play hands separately, noticing the Key of ____ Major
(1746–1827) fingering and chord changes.
Moderato
˙
Edvard Grieg

3 œ œ œ œ ˙ œ œ œ œ œ œ
(1843-1907, Norway)
Moderately (Π= 100-120)
& 4
3 2 1
arranged

& b 34 œ œ œ
cross over
P
œ œ œ œ œ œ œ œ œ œ œ
4 2 1 2 1 2 1 2 1 2

? 34
œ œ œ œ œ œ œ œ œ ˙. p .
? b 43 ˙˙˙ ..1
3
˙˙˙ ... ˙˙˙ ... ˙˙˙ ...
1 3 5 4 5

! ! !
œ œ œ ˙ œ œ œ. œ.
5

˙. ..
5

œ œ
3

& &b œ œ œ
1 2

œ œ œ
4 5 2 1 2

œ ˙.
œ œ œ œ œ ˙. . ˙˙ ... ˙˙˙ ...
? œ œ ˙ .. ? b ˙˙˙ .. 1
3
5 ˙ ˙˙˙ ...
1
! ! ! pedal simile (pedal similarly)

9 5

œ. œ. œ. œ. œ. & b ˙˙˙ ... ˙˙˙ ... ˙˙˙ ... ˙˙˙ ...

3

œ. ˙. ˙.
9

& ..
3 1

f. p
? ..
œ œ. œ. œ œ œ œ œ œ. œ. œ. œ œ œ œ œ ?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1

˙˙ .. # ˙˙˙ ... ˙˙˙ ...

13 5 5

& b ˙˙˙ ...

2 3
1 1

˙ ˙.
œ œ œ œ œ œ œ œ. œ.
13

˙. ..
3

&
1 2

F
œ œ œ #œ nœ
P ?b œ œ œ œ ˙.
3

?
œ œ œ œ œ œ œ ˙ ˙. &
.. 3 1
cross over
2 5 2 1

FF1030 16 Theory pp.8-9 ?Tech p.3 (Pedal by Ear), pp.11-13 Perf pp.6-7 Sight pp.18-21 FF1087

Quick Thought: Passages with longer phrases are almost followed by a diminuendo at the end.
This matches natural speech when our voice lowers slightly at the end of a sentence.

7
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Little Dance, p. 13 Interval Warm-up, p. 19 Rage Over a Lost Penny,

• Key of G major • Key of C major p. 18
• Symmetrical phrases • Use of rotation for broken • Key of G major
• Phrases ending on the tonic intervals • Section cadences on the tonic
and dominant • All intervals presented within or dominant
• Intervals of the 2nd, 3rd, 4th, the C scale: 2nd, 3rd, 4th, • Octave leap at the end of the
5th, 6th, and octave 5th, 6th, 7th B section
• Daniel Türk, the composer
of “Little Dance,” lived
around the same time as
Beethoven. Whose music
was more dramatic?

13

Little Dance
Daniel Gottlob Türk
(1750–1813)
• Play and listen to the intervals
Interval Warm-ups
Allegretto
#4
grow from a 2nd to an octave.

& 4 œ
3
œ œ œ œ œ œ. œ. œ. œ œ
2

œ œ œ #œ ˙
3

& 44 œ œ œ œ œ œ œ œ œ.
œœœ œœœ
1 2 1 3 4 5 1 5

F œ œ œ œ œ.
R.H.

? # 44 w w w p
f
2nd 3rd 4th 5th 6th 7th oc - tave Cs!

1 2 3

? 44 œ œ œ œ œ œ
p œœœ œœœ œ œ œ œ œ.
2nd 3rd 4th 5th 6th 7th oc - tave Cs!

# œ œ œ œ œ œ œ œ
4

Œ Œ œ œ. œ. œ. œ œ œ.
5 5

&
1 3

œ L.H.
˙
p f
1 2 1 3 4 5 1 5

?# œ œ œ w w
3

œ • Transpose Interval Warm-ups to G major. Remember the F≥.

4
1 • Now transpose to F major. Remember the B≤.

# œ œ œ œ œ œ
7

œ œ ˙. œ œ. œ. œ.
2 2 1

&
3 3 4

f ˙ .. 7th St. Blues

?# ˙ œ œ ˙. Œ ˙ Œ Key of ____ Major
2 1
Steady walk (Π= 88-112)
# œœœ œœœ n œœœ œœœ w
4 5 5

& 44
5 5 5
3

∑ ∑ w
3 3 1 3

# . w
1 1 1

œ. œ. œ œ œ œ œ
10

œ œ œ ˙ Œ
2 1

&
3 4

F
˙. œ œ œ œ œ œ œ ? # 44 œ œ n œ œ œ œ n œ ˙ w Œ œ bœ nœ
? # ˙. Œ œ œ œ œ œ œ œ >œ ˙ w 3 2
1 5
5

# œœœ œœœ n œœœ œœœ

2 1 4 5

& ∑ ∑ ˙˙˙ œœœ̆ Œ

#
œ œ œ œ œ œ œ. œ. œ. œ œ œ œ œ œ œ œ w
13 (2 1 2)
2

&
3

p ?# œ œ nœ œ œœ œœ n œœ ˙˙ w ˙ nœ Œ
?# w w ˙ œ œ w œ œ œ œ > w ˙ œ
1
5 fl
1 1
4
cross under
FF1030 FF1087 Theory p.10 ?Tech p.14 19

106% enlargement

Quick Thought: Beethoven was always creating new ways to be musically inventive and exciting.

106% enlargement

8
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Morning, p. 14 Land of the Silver Birch, Snowfall, p. 12

• Key of C major p. 20 • Key of C major
• Binary form • Key of D minor • A A B A1 coda
• Song-like melody with • Song-like melody with L.H. • Long R.H. phrases with
simple L.H. harmony ostinato simple L.H. broken 5ths
• 2-measure phrases followed • 2-measure phrases followed • Cascading 3rds with longer
by a longer 4-measure phrase by a longer 4-measure phrase pedaling create shimmering,
• Section B begins on the • Legato touch enhanced with pianistic color.
dominant and cadences on the use of the damper pedal
the tonic
• Legato lines achieved
without pedal

14

c = Common Time
Morning c
34
is the symbol for common time.
Common time is the same as .
44

• Circle the c in the music.

Anton Diabelli 24 22
Moderato
(1781–1858) Land of the Silver Birch
4
&4 œ œ œ œ
1
œ œ ˙ œ œ œ œ œ œ ˙
38 68
Canadian Folk Song
arranged

p ÅU
Flowing along (Π= 138-160)

4 &c ˙
1

œ œ ˙
5 lift
˙
1
œ œ
&4 w
w w
w w
w w
w œ œ
F p U
?c
3

∑ ∑ ∑ ∑
5

œ œ œ œ œ œ œ œ
5

œ œ œ œ ˙ Ó ..
5 1

& 5

F
& .. œ œ ˙ ˙ ˙
1 5 2

& w ˙ Ó .. ˙ œ œ ˙ œ œ
w ˙ ˙ ˙ F 1. Land
2 1
˙ p 2. High
of
on
the
a
sil - ver

w
rock - y
birch,
ledge,
home
I’ll
of
build
the
my
bea - ver,

w
wig - wam

? ..
3 2

w w
5 5 7th

œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ! ! ! !
9

& ..
5 5 5 1 5 1
5 3 2 1

p
9

? .. w
w ˙ ˙ w & ˙ œ œ œ œ w
5 4 1

œ œ
2

w w w w ˙ ˙
w w
Where still the might - y moose wan - ders at will.
3

? w
5 Close by the wat - er’s edge, si - lent and still.

w
œ œ œ œ ! ! ! !
œ œ œ œ
13

œ œ œ œ ˙ Ó ..
5

&
3

F
Teacher Duet: (Student plays as written and pedals for the duet.)

? ˙ ˙ ˙ ˙ .. ?c 4
5 9

˙ ˙ Ó .. w w w w w w w
˙ w
1
w w w w w w
bw w
P-π on repeat
5 1 5
4

FF1030 20 Sight pp.22-25

?
13 17 21 FF1087

˙ b˙ ˙ ..
˙ ˙ ˙ ˙ ˙ w w bw
w
w w w w w
rit.
√

106% enlargement

Quick Thought: Classical music does not use the damper pedal as much as Romantic and Contemporary
pieces. We see pedal is used for coloristic effect in “Land of the Silver Birch”
and “Snowfall.” However, in the Classical piece, “Morning,” the fingers must do the
necessary work to connect the tones all on their own, without the damper pedal.

9
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Quadrille, p. 15 Cossack Ride, p. 22 Sea Chantey, p. 16

• Key of C major • Key of A minor • Key of E minor
• Binary form • A study in staccatos and • Theme and Variations
• A study in staccatos accents • A study in staccatos and
• Articulated, robust R.H. • Articulated, robust R.H. accents
melody melody • Articulated, robust L.H.
• I and V7 blocked L.H. chords • Staccato L.H. 5ths with melody
accents • Staccato R.H. blocked chords

34 44
15

34 44 24 22
Common Time to Cut Time
Quadrille
c =
beats in a measure

the Πgets one beat

Let’s cut
it in half! C =
beats in a measure

the Ó gets one beat

Franz Joseph Haydn Cut time is also known as alla breve.

(1732–1809)
• Tap quickly, feeling 2 beats per measure. Remember, the Ó gets the beat.
Allegretto

˙ . .
3 œ. œ œ œ œ œ œ œ œ œ œ C ˙ ..
4 5

& 4 œ
5

˙ ˙ ˙ œœœœ ˙ ˙
1 3 2 1 3

24 22 38 68
. .
f
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
1 2 1 2 1 + 2 + 1 2

? 34 Œ
• First, play slowly in common time.
1
1
3 2 Feel 4 beats per measure.
5 4

• When ready, play faster in cut time.

. ˙ œ.
5 Feel 2 beats per measure.
Cossack Ride
& œ œ œ œ œ œ œ. œ Œ ..
2

38 68f >œ. œ œ œ œ
Allegro ( Ó = 112)

&C
1

? œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. .œ œœ. œœ.

œ
œ œ œ œœœ. .. ˙ ˙ œ œ œ œ œ w
œ.
Count: 1 + a 2 + 1 + 2 +
>1. + a 2 + 1 + 2 +

?C œ Œ
5

œ. Ó œœ Œ œœ Œ œœ Œ Ó œœ Œ œœ Œ
. > . . >. . .
œ œ œ
. œ. œ. œ œ œ œ
.
9 (4)

& .. œ ˙
5
3 4
1 1

œ
3 2 2 1 1
5 5 5

. .
5

p f &
3 4
..
? .. Œ œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. Œ œ œœœ œ
>.
˙ ˙ œœœ œœœ w
?œ Œ Ó œœ Œ œœ Œ œœ Œ œ Œ Œ œœ ˙˙ ..
œ >. . . . œ. .
1 1

œ.
5 1 5

. ˙
13 9 5

& œ œ œ œ œ œ œ Œ ..
3

œ.
2

& w
5

P œ œ œ œ w œ œ œ œ
? œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œ. .. ? Ó ˙˙ w Ó ˙ w
w ˙
1
w
5

FF1030 22 Theory p.11 Perf pp.8-9 Sight pp.26-29 FF1087

Quick Thought: What is more important, the melody or the harmony? “The melody,” we say. And this
is right. Yet the harmony, with its articulated staccatos and accents, is the perfect
“musical partner” for the melody to be expressive.

10
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Sonatina in G, p. 16 Willow Tree Waltz, p. 62 Liebestraum, p. 42

• Key of G major • Key of D major • Key of C major
• A B A form • A B A coda • Through-composed
• Alberti bass • Musical gestures split • Broken-triad accompaniment
• R.H. phrases shaped with between the hands in 6/4
cresc. and dim. • One-octave ascending R.H. • R.H. phrases shaped with
• H.T. coordination that is arpeggios. Use the technique cresc. and dim
more challenging of half wrist circles (low • More challenging H.T.
wrist to higher wrist) coordination. Broken
• Balance between the hands L.H. triads

16
Sonatina in G poco is the Italian word for little.
poco rit. means to slow down a little.
Willow Tree Waltz
(1st movement) Key of ____ Major

Thomas Attwood Flowing (Π= 132-160) N. Faber

#
& # 34 œ œ œ œ œj ‰ ‰ œj œ œ œ ‰ œœœ ‰ œœœ
(1765–1838) 3
4 5 4 2
2
Allegretto
#4
1 1 5

& 4 œ œ
3
œ œ œ œ ˙. œ œ œj œj
P
F
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # # 43 Œ Œ ‰ œJ ˙ . ˙. ˙.
? # 44 Œ
5 1 3 5 1 2
1 2
! !
œ œ œ œ œ
##
5

& œ œ œ œ œj ‰ ‰ œj œ œ œ œœ œœ
3

‰ ‰
2

œj œ œj œ
4 1 5

# œ œ œ
3 *

œ œ œ œ œ œ œ œ œ œ œ
1

œj œ œ
3 2 5

&
4

œ œ œ œ P Fœ œ œ œ œ œ ? # # Œ Œ ‰ œJ ˙ . ˙. ˙.
?# œ œ œ œ œ Œ Ó œ œ
! !
# œ œ œ œ œj ‰ ‰ œj œ œ œ
5 5
9

& # œ œ œ œ œj ‰ ‰ œj œ œ œ
5
2 3 5
4 1 4 1 2 3

#
6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5

˙
1 3

&
2 4

F œJ ˙ .
p ? # # Œ Œ ‰ œJ ˙ . Œ Œ ‰
?# œ œ œ œ œœ Œ ˙
˙ œœ. œœ. œœ Œ
œ Œ 1 2

5 1 3
5
2 1
1
2
To Coda fi
##
4 5
13

# œ œ œ œ œj ‰ ‰ œ œ œ œ œ Œ ˙˙
3 5

‰
9 2

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œj œ
1 3 4 1 1

&
1 4 4

œj
?# œ Œ œ Œ ? # # Œ Œ ‰ Jœ ˙ . ˙ œ
poco rit.
œ ˙.
Œ œ Œ œ Œ œ Œ
5
1 2 4 3 2
1
!
# # -̇ - -̇
12 17

œ œ œ œ œ & # Œ b ˙ . œœ œœ
3

œ œ œ œ œ œ œ œ œ œ Œ
5

œ n œ Œ . n œœ œœ .
&
1
1 3 5 5

Œ Œ n œœ œœ
?# œ œ œ œ œ œ œ F
a tempo
f œ œ
3

bœ œ
3

?## œ œ nœ œ Œ Œ œœ œœ
1

œ œ
1

Œ Œ œ œ Œ œ œ
! !
3 2 1 1
5 3 4 5
1
5 5
*The slur notation indicates that the D (downbeat of measure 5) (4)
both ends the preceding phrase and begins the new phrase.
FF1030 62 Theory p.40 ?Tech pp.38-39 Perf p.32 Sight pp.90-95 FF1087

Quick Thought: The legato phrasing of the classical “Sonatina in G” can have expressive nuances within
the melodic line. Similarly, the “Willow Tree Waltz” and “Liebestraum” are expressive
pieces that rely on the performer to give it artistic beauty through personal interpretation.

11
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Adagio and Allegro, p. 18 Note: Adagio and Allegro, p. 56

• Key of A minor This “Adagio and Allegro” • Key of A minor
is beyond the level of 3A.
• A section (adagio) • A section (adagio)
Consider teaching it at the
B section (allegro) B section (allegro)
next level. Or, teach it with
A section (adagio) A section (adagio)
demonstrations that model
• Marked contrast of tempo technique, rhythm, and the • Marked contrast of tempo
and dynamics character of the piece. and dynamics
• Motive and sequence • Motive and sequence
• Use of pedal for a rich • Use of pedal for a rich
opening and closing sound opening and closing sound
• Use of L.H. octaves

18

Adagio and Allegro

J.C. Bach and F.P. Ricci
(1735–1782) and (1732–1817)
Adagio

4
3

Œ Ó
4

Œ Ó
2

& 4 œ Œ Ó
1 2 1

œ œœ œœ
f
? 44 Œ œ œ œ Œ œ œ œ Œ œ œ œ
2 1
! 2
! 1

& ≈ œ œ œ Œ ∑
1

œ œ œ œ œ
1

? œ
œ œ œ œ œ
Œ ≈ œ œ œ Œ Ó
5 1
1

Allegro

≈ œ œ œ œ ≈ ≈
3 2 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 2 3
6 1 1

& Œ ≈ ≈
P 1 2 1 3
1 2 3

≈ ≈
& œ≈ œ œ œ œ œ œ œ œ≈ œ œ œ œ œ œ œ œ≈ œ œ œ
3 3
1 1 1

1 3
1 3

?
1

The allegro section may be played freely, as in a cadenza.

(A cadenza is an elaborate, showy section, often without bar lines.)
FF1030

Quick Thought: Which version of this piece is preferable to the student? The more difficult one with
octaves in the 3B Lesson Book? Or the slightly easier version in the Piano Literature
Book 1 with single notes? Teachers can have a brief discussion that Classical
composers often did these kinds of additions in their pieces.

12
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Little Prelude, p. 20 Lunar Eclipse, p. 24 Legend of Madrid, p. 27

• Key of A minor • Key of C minor • Key of D minor
• Through-composed • A B A coda • Through-composed with a
• Broken-chord gestures split • Broken-chord gestures split cadenza in the middle
between the hands between the hands • Free tempo for the cadenza
• Shaping of slur gestures with • Shaping of slur gestures with • L.H. broken-chord
cresc. and dim. cresc. and dim. accompaniment
• Connected pedaling • Connected pedaling • Connected pedaling

Romantic
circa 1830 - 1910
tenuto or stress mark Œ
This mark means to hold the note its full value.
Hint: Press deeply into the key.

• Name the opening R.H. broken chord.

Is it major or minor? _____________ Lunar Eclipse
Little Prelude Moving freely (Π= 112-132) L.H.
-̇ over
.
& 34
2
1 3

Ludwig Schytte
œ bœ œ œ œ œbœ œ œ œ œ bœ œ œ œ
(1848–1909)
P
Moderato
6 œ œ œ œ5

? 34 œ œ- b œ-
& 8 œ œ
1 3

-
p œ
5 1
!
2

œ œ œ
?6 œ œ
-̇ over
8 .
5
L.H. 2

5
! 2 1 & œ bœ œ œ œ œbœ œ œ œ œ bœ œ œ œ
?œ b œ- œ
- -
œ œ ! !
3

œ œ
5 5 2 3

& œ œ
1 3

œ œ &
? œ œ œ œ œbœ œ œ œ œbœ œ œ œ œbœ œ œ œ œ bœ œ œ œ
! ! ?œ bœ œ- b œ-
-
5 2 1

-
! 5
!
2
!
1
!
3

fi
œ
5
To Coda

œ œ œ
5 13 5
L.H. over
&
1 2

œ œ ˙.
3

& ∑ Œ
1 1 2

˙ œ bœ œ
p # ˙˙
œ œ œ œ F p
? œ œ ˙
? œ bœ œ bœ œ bœ œ
!
5
! 3 1
4
!
FF1030 24 Theory pp.12-13 ?Tech p.15 Sight pp.30-33 FF1087

Quick Thought: Broken-chord passages often use the damper pedal to give a “wash” of
musical color. The harmony “hangs in the air,” creating a beautiful sound through
the pedal effect.

13
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Melody for Left Hand, p. 22 Scarborough Fair, p. 27 Cat Patrol, p. 24

• Key of G major • D minor tonal center • Key of D minor
• Cheerful L.H. melody that • Carefully counted intro to set • Vivace piece using 6/8
uses a dotted-quarter-note a moderato tempo rhythm patterns and a coda
rhythm pattern • Lyric R.H. melody requiring • Contrasting L.H. melody
• R.H. harmony using blocked shaping of the phrase at m. 17
chords • Words offering the • Mostly 2-measure phrases
• 2-measure phrases followed opportunity to sing • Staccatos and accents
by a longer 4-measure phrase • 4-measure phrases

22
Scarborough Fair
Scarborough Fair
Key of ____ Major/Minor

Melody for Left Hand

English Folk Song
Key of ____ Major/Minor arranged
Moderato (‰ = 116-132) English Folk Song

& 833 ∑∑
(Opus 108, No. 12)
∑ ∑ ∑
1 arranged
Moderato (‰ = 116-132)
Ludwig Schytte
&8 ∑ ∑ ∑ œ1
œj
œ œj
(1848–1909)
Moderato
pœ . . œ ..
œ œœ .. P œ ..
Count: 1 2 3 1 2 3 1 2 3 1 2 3 Are you

? 38 pœœœ ... œœ ...

œœœœœ .... œœœ ..
#2 œœ œœ œœ œœ œœ œœ œœ œœ
& 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ ....
5 5

P
œœœ ..
3 3 Count: 1 2 3 1 2 3 1 2 3 1 2 3 Are you

œ œ œ œ œ œ œ œ ? 38 œœ .. œœ ..
1 1

! ! ! !
1 1
3 2

F 5
1
!
5
1
! ! !
? # 24 œ . Jœ œ œ. Jœ œ
3 2

œ œ
6 5

œ
5

& œ œ œ ‰ œ œ Jœ
2

œ œ œ
6

& œ œ œ œ. ‰ œ œ
2
œ Jœ
œ œ œ œ.
1 3

œœ ... œœ .. œ .. œ .. Fœ .
go - ing to Scar - bor - ough Fair? Pars - ley, sage, rose -

?
œœœœ .... œœœœœ .... œœœœœ .... Fœœœ ...
œœœœ ...
go - ing to Scar - bor - ough Fair? Pars - ley, sage, rose -

# œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ? œœ ..
5 5
4

& œ œ œ œ
1

! ! ! ! !
11 ! ! ! ! !
? # œ. Jœ œ ‰ ‰ œj œœ œJœJ œ
2

œ œ ˙ œ Œ & œ œ œ œ. œj
11

œ
2

& œ œ œ œ. ‰ ‰ œj œj
œœ .. œ. F œ .. œ ..
œ œœ œœ
5 mar - y and thyme. Re - mem - ber me to

? œœœœœ .... œœœ ..

œœœ .... œœœ ... F
mar - y and thyme. Re - mem - ber me to

?
# œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ ! !œ ! ! !
9
1

& œ œ œ œ œ œ œ œ œ œ œ œ
3

16 ! ! ! ! 1
3 !
œ œ œ œj ∑ œj
2 1 4

F & œ
3 1 1

œj
16

? # œ. Jœ œ œ. Jœ œ œ œ œ œj œ ∑ œ œj
2 1 4

œ & œ
3 1 1

œ œ œ œj
P œœœ ... œœ ..
one who lives there. She once was a

? œ. Jœ œ
∑ œœœ ... P
œœœ ... œœœ ....
one who lives there. She once was a

Jœ œ
1

?
3

∑
5
1

! ! !
3
1 5

# œœ œœ œœ œœ
5

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ! ! ! U

13

Œ
1

& œ œ œ œ
21 5
4

& œœ .. #Uœœ ..
2 1 2 1 2

œ. œ.
21

œ œ œ œ.
œœœ ... rit. œœ .. # pœœœœ ....
4

&
2 1 2 1 2

œ œ œ œ. œ. œ
? # œ œ œ #œ œ œ œ Jœ œ œ œ Upœ .
true love of mine.

œ nœ œ Œ ? Jœ œ Jœ œ rit. Jœ œ œœœ ...

˙ œ œ œ œ Jœ œ U
true love of mine. 1

? Jœ Jœ Jœ
5
1

! ! ! √
4 3
5
1 2 3 4 5 1 1 5

 ! ?! ! √Sight pp.34-37
2 3 4 5 1 1

FF1030 FF1087 Theory pp.14-15 Tech p.16 Perf pp.10-11  27

FF1087 Theory pp.14-15 ?Tech p.16 Perf pp.10-11 Sight pp.34-37 27

106% enlargement
106% enlargement

Quick Thought: Memorization can be something to explore in small steps. Consider having the
student in Literature Book 1 memorize 4 measures of every piece. This is a great place
to start. Students may find that they can do more, but this builds the “memory muscle”
fostering quick recognition of patterns—melodic, harmonic, and rhythmic.

14
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Two Preludes, p. 23 Amazing Grace, p. 36 Tropical Island, p. 40

• Key of G major • Key of G major • Key of G major
• Through-composed • Through-composed • Through-composed
• Prelude I: L.H. melody with • Melody played by the R.H. • Features L.H. changing triads
R.H. broken chords and the L.H. for a tropical, exotic sound
• Prelude II: R.H. melody with • Words offering the • Expressive L.H. melody
L.H. broken chords opportunity to sing at m. 9
• 2-measure phrases followed • A slow tempo with a rich • Mostly 2-measure phrases
by a longer 4-measure phrase tone required for soulful • Connected pedaling
• Connected pedaling expression
• Connected pedaling

23

D.S. al Fine
Two Preludes Return to the segno sign %
and play until Fine (ending).

I Fritz Spindler
(1817–1905)
Amazing Grace
Andante Words by John Newton

#4 1 3 5 3
Slowly, soulfully (Π= 88-96)
Traditional melody

& 4 œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

3 4 2 4 3 2
arranged

#
& 34 œ
5 5 cross over

˙ œœœ ˙ œ ˙ œœœ ˙
2 1 1 2

p ˙ œ
? # 44 ˙ w ˙ w FA 3 3

˙ ˙
n˙.
- maz - ing grace, how sweet the sound, that

! ! ! ! ! ! ! ? # 34 Œ ˙˙ .. ˙˙ .. ˙ Œ
˙.
5

1
! 1
2 ! !
3

#
5 5

œ œ
1 2

œ œ Œ œœ Œ œœ
2

œ Œ
4

& œ œ œnœ œ œ œ œ œ œ œ œ ˙˙ # ˙.
1 5

œ œ ˙
3 5

˙ œ œ œ œ ˙ œ œ
3

& ˙
1

F ˙ ˙. ˙
cresc. 3 f
?# ˙ œ Œ œ Œ Œ œ œ Œ
˙
saved a wretch like me! I

w ?# ˙. ˙˙ .. œ œ Œ
! ! ! ! ˙. œ ˙
! ! 1

%
# ˙˙
9
II
& ˙ œœœ ˙ œ ˙
3

Andante œœœ ˙ œ
#4 F
& 4 ˙ œ œ ˙
3

˙ ˙ œ œ #˙
5 3 2 1 2
3
˙ once
pre -
was
cious
lost
did
but
that
now
grace
am
ap -
found,
pear,
was
the

p ?# œ ˙˙ nœ ˙ œœ ˙˙ œ œ œ
? # 44 œ œ ˙
œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ
œœ œœœ œ ! ! ! !
1
2

5
! 4
5

#
13
3
5
3
5
2 Fine

& ˙˙˙ œ œ œ ˙ œ œ œœœ b œœœ ˙˙

1 1 1

# ˙ ˙
& ˙ œ œ œ œ œ Œ
5

œ œ
œ Œ œ Œ Ó
5 5 4 2 3
3
blind but now I see. p
p ?# œ œ œ ˙. last time rit.
˙
hour I first be - lieved.

œ œœ œ ˙
?# œ œ œ œ œ œ œ Œ Ó
œ œ œ Œ œœ Œ Œ Ó ! 1 3
cross
2 1
! !
!
over
2 1 1
5 3
2
5 FF1030 36 Theory pp.20-21 ?Tech pp.22-23 Perf pp.17-19 Sight pp.48-51 FF1087

106% enlargement

Quick Thought: Accompaniment patterns play an important role in the expressiveness of the music.
Whether the chords are blocked or broken, they help to establish the character of the
piece, develop the texture, and contribute to the forward rhythmic flow.

15
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Waltz for Four Hands, p. 25 Sleigh Ride Holiday, p. 29 Gavotte, p. 50

• Key of C major • Key of C major • Key of C major
• H.T. waltz melody played in • 6/8 rhythm patterns with a • R.H. melody that features
parallel motion R.H. melody chord inversions
• Short slurs on 8th-note • Slurs on the short • Short slurs on the 8th-note
melodic patterns 6/8 patterns patterns
• Staccatos on quarter notes • L.H. features I, IV, and • L.H. octave jumps create
for light, elegant “waltzing” V7 chords a classical dance character

25

Student Part

Waltz for Four Hands Sleigh Ride Holiday

from The Children’s Musical Friend
(Opus 87, No. 35) Briskly (‰ = 200)
Traditional melody

& 68 œ œ œ œ œ œ œ œj œ œj œ œ œ œ œj
3 3 4 2 5
Primo
Heinrich Wohlfahrt
Play BOTH HANDS 1 octave HIGHER throughout. (1797–1883)
P
Allegretto
œ. œ. œ. œ. œ. œ œ ? 68 ˙˙˙ ... œ Jœ œ ‰ Œ. œ œJ
3 œ. œ. œ œ ˙ Œ
3

&4 1
3
3 2

P 4
5

&4 œ
3 œ. œ. œ. œ œ Œ & œ.
2

œ œj
5

. œ. œ œ œ. œ. ˙ œ œ œ œ œj œ œ œ œ œj
? œ. ˙˙˙ ... ˙˙˙ ...
3

œ ‰
5
. œ. œ œ œ. œ. œ. œ œ œ. œ.
& œ ˙ Œ ..
1 Fine 1
2
5
7
2

& œ œ. œ œ œ œ œ œ
1 3

Œ .. œj œ œj œœ ..
&
œ. œ. œ œ œ. œ. œ. œ œ œ. œ. ˙ F
5 ? # ˙˙ .. ˙. ˙˙˙ ...
>œ >œ œ
2 1

œ œ œ œ. œ œ œ œ œ œ œ œ œ
5 4

œ œ
9 4

& ..
2
10

&œ œj œ œj œ œ œ œ œj œ . œ œj
2 5

F
& .. œ œ œ œ œ œ œ œ œ œ ?œ Jœ œ œ œJ œ.
> 1
> œ œ œ
2
œ. œ œ œ œ
4
‰ Œ. œ ‰

>œ œ œ œ >œ
œ. œ œ œ œ U
13

œ œ œ œ œ œ- œ- œ- .. &œ œ œ œ
13

œj œj ‰ œj
lift
4
D.C. al Fine

œj œ œ œ œ œj ˙ .
3 2

& œ
f
œJ œJ ‰ ‰ Uœœœ
f
rit.
. ? Œ. œ ‰ Œ. œœœ ... ˙˙˙ ...
& œ œ œ œ œ
> œ
> œ œ œ œ œ. œ œ œ œ œ- œ- œ- . 1
2
2 5

FF1030 FF1087 Theory p.16 Perf pp.12-13 29

Quick Thought: Time signatures play an important role in the overall essence of the piece.
The “Waltz” is in a lilting 3/4 and the “Sleigh Ride” in a quick 6/8 for the sleigh’s
forward motion. The “Gavotte” is in 4/4 with a stronger downbeat and light afterbeats
to convey the dance steps. Each time signature gives a boundary in which the music
conveys its musical meaning.

16
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

The Hunt, p. 26 Snowflake Rag, p. 49 The Return, p. 51

• Key of C major • Key of C major • Key of C major
• Programmatic piece • Intro A B A coda • Programmatic piece
• Through-composed • Syncopated melody • Binary form
• Allegro piece in 3/4 • Easy “ragtime” broken-chord • Vivace piece in 6/8
• Begins with 2-note “horn accompaniment • By the same composer
calls” followed by a • Chromatic passages as “The Hunt,”
4-measure phrase Cornelius Gurlitt.
• Harmony is I to V or V to I

26

Ragtime Piano
The Hunt Ragtime is a style of American music that became
(Opus 117, No. 15) popular in the early 1900s. The L.H. plays a steady
march-like rhythm. The R.H. plays a syncopated
Cornelius Gurlitt
“ragged” melody that often accents between the beats.
(1820–1901)
Allegro

& 4 œ
3 1
œ Œ
3

œ œ Œ œ ˙. œ Œ œ Snowflake Rag
f œœ œœ ˙˙ .. œœ Cheerfully (Œ = 132-144)

? 34 Œ Œ Œ Œ Œ Œ Œ & 44 œ # œ œ # œ ˙ œ œ #œ œ b˙ œj b>œ œj œ. œ.
1 3 1 3 1 1 2 3 1 3 1 3 1 3

f
1

F
Jœ b>œ Jœ œ. œ.
3

? 44 ∑ ∑
œ œ ˙. œ
5

& œ œ œ œ Œ œ
3 1 5 4 1 3 1 3

4
4

œœ œœ ˙˙ .. œœ & œ. Œ ˙˙ œ #œ œ œ ˙ œ œ œ œ ˙
1 1 1 2 1 3 2 1

? ΠΠΠΠΠΠ>
F
2
? œ. Œ œ. œœ. œ. œœ. œ. œœ. œ. œ
œ.
˙>
5

1 5 5 1 4 1
3 2

œ œ ˙. œ
9

Œ Œ Œ
4

& œ œ œ
1
7 5
1 2 3 1

œ ˙
& œœœœ œ œ œ œ œ >œ œ #œ œ œ ˙
2 1 2 1

œ œœ ˙˙ .. œœ ˙
? œ Œ Œ Œ Œ Œ Œ F
? œ. œœ. œ œœ. œ. œ
.œ
œ. œœ. .
œ. œœ œ. œœ
.
4
. 5 5 1
3

œ œ œ œ ˙. œ
13

Œ Œ
5 10

& œ œ ˙.
3 1 4 3 1
1

‰ œj # œ œ # œ œ # œ œ Œ
3
1

& œ œ œ œ ˙
1 3 2

P
œ œœ ˙˙ .. œœ œ f
? œ œœ. œœ.
Œ Œ Œ Œ
1
Œ
3
? œ. œ. w œ œ œ œ
3 5 5 2 1 2 4

FF1030 FF1087 Theory pp.29-31 ?Tech pp.30-31 Perf pp.24-25 Sight pp.68-71 49

106% enlargement

Quick Thought: Each of these pieces features a quick R.H. melody in the Key of C major.
Each chord accompaniment is based largely on I and V7 chords.

17
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Tarantella, p. 28 Tchaikovsky’s Theme, p. 56 The Return, p. 51

• Key of A minor • Key of D major • Key of C major
• Programmatic piece • Andante melody in 6/8 • Programmatic piece
• Through-composed • Short, melodic passages with • Binary form
• Allegro melody in 6/8 coloristic accidentals • Vivace melody in 6/8
• Fast scale passages • Gentle L.H. blocked chords • Fast broken-chord inversions
• Staccato L.H. chords that • Connected pedaling • Pedal used intermittently to
briskly mark 2 beats per give resonance
measure

28

Tarantella Tchaikovsky’s Theme

(Opus 14, No. 8) from Piano Concerto No. 1, 2nd Movement

Key of ____ Major

Frank Lynes • Feel the “big beats” on counts 1 and 4.

>œ
(1858–1913)
Allegro This will help the music flow.

6 Jœ Jœ œ œ œ
Peter Ilyich Tchaikovsky

œ œ œ œ œ œ
2 (1840-1893, Russia)
Andante (‰ = 126-144)
& 8
3

œ. œJ ˙.
1 3 1 3 1
arranged

# œ œ œ œ œ œJ
4

& # 68
5
lift 4

œœ. œœ.
1

œœœ.
f >œœ
? 68 ‰ œ ‰
œ ‰ ‰ œ ‰ p dolce (sweetly)

? # # 68 œœœ ... œœœ ... œœœ ... œœœ ... œœœ ...
œœœ ...
Count: 1 2 3 4 5 6 1 2 3 4 5 6

1 1
3 2
5 5

! ! ! ! !
1 1
3 2
5 5

Jœ
3

& œ œ
4

œ œ œ
3

Œ
2

œ œ œ
2

#œ # œ œ œ œ œJ
3 1 1

œ œ œ œ œJ
4

& # ˙.
5 2 1

œœ. œœœ. œœœ. œœœ.

? œ b œœ ..
‰ ‰ ‰ ‰ ? # # œœœ ... œœœ ... œœœ ... œœœ ... œ.
cresc.

! ! ! ! ! !
2
5 3 1
2

>
5
œ Jœ œ œ œ œ œ œ bœ œJ
œ œ œ # œ
7
œ œ
3

&
1 3 3 5

& # bœ.
3 1 lift
œ.
1 cross over 2

>œœ œœœ. œœœ. œœ.

? œ ‰ ‰ ‰ œ ‰ ? # # œœœ ... b œœ ... œœ ...
rit.
œœœ ...
œ œ
! ! !
1 1
2 2
5 5

## œ. œJ ˙.
7

& œ
(1)

œ œ œ œ œ œ œ œJ
4 2 9 4

œ œ œ. œ œ
j
1 3

#œ
3
lift 4

&
p
œœ. œœœ. œœœ. œœœ. p
? œ ? # # œœœ ... œœœ ... œœœ ... œœœ ... œœœ ... œœœ ...
a tempo

‰ ‰ ‰ ‰
! ! ! ! ! !
FF1030 56 Theory p.34 Perf pp.26-29 Sight pp.76-79 FF1087

Quick Thought: All three pieces use tempo as a key factor in expressiveness for the piece—be it
a wild tarantella, a poetic Tchaikovsky melody, or a fast-paced hunt. In all cases,
the tempo sets the character for an artistic performance.

18
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

On the Ocean Floor, p. 30 Sakura, p. 6 Swing Low, Sweet Chariot,

• Key of C major • Key of A minor p. 52
• Programmatic piece • R.H. melody that rises and • Key of G major
• Through-composed falls • R.H. melody that rises and
• L.H. ostinato is the “canvas” falls
• A bass melody, split between
the hands, that rises and falls for the R.H. melody to be • Chord inversions played by
“painted” both the R.H. and the L.H.
• 2-measure chord clusters
“bookend” the phrases • Phrase shaping with cresc. • Connected pedal
and dim. • Big, dramatic ending
• Pedal for underwater effect
• Connected pedal
• Peaceful
• Peaceful

Review Piece
Contemporary An ostinato is a musical pattern that is repeated over and over.
circa 1900– present
• In this piece, the L.H. ostinato uses two intervals: ______ and ______
• Play the L.H. ostinato alone with pedal before playing hands together.

On the Ocean Floor

from The Ocean (Deep Sea Explorations on the Piano) Sakura
Technique Hint: The arrows indicate
(Cherry Blossoms)
Hansi Alt
(20th century, dates unknown) a graceful, upward wrist motion.
Andante

& 4
4 Traditional, Japan
arranged
Peacefully ( Π= 66-76) à (2 octaves higher)

F R.H. ˙˙˙˙ ˙˙˙˙˙

& 44 œ œ œ
5 4 4 4

œ œ œ œ œ œ œ
4 3 3 cross 2 over

˙ œ œ œ
1 1

? 44 ˙˙ ˙˙
1

˙
3
R.H.
œ
2

˙.
1

p π
? 44 ∑ ∑
5 1
1
5

& œ Ó ?
4

œ œ œ ˙
3

œ
5 5

& œœ œ ˙ œ œ ˙ œ œ œ
1 1 3
5

P œ ˙ œ œ ˙
4
3

?
R.H. 2

˙˙˙˙˙ ˙˙˙˙˙
1

˙˙ ˙˙ f p
Sa - ku - ra, sa - ku - ra, cher - ry blos - soms

? ˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙
! ! ! ! ! !
1
5 1 1
5 5

? œ œ œ œ Ó
4 6
cross over
˙ & œ œ œ ˙
1 3 1 2

œ œ œ œ œ œ œ ˙
?
R.H. in the sky, near and far as eye can see.

œ
1 3

œ œ œ œ ? ˙ ˙ ˙˙ ˙ ˙˙ ˙
˙. ˙ ˙ ˙ ˙
5
1
! ! ! ! ! !
© MCMLXVII Oxford University Press, Inc.
FF1030 Licensed by Oxford University Press. All Rights Reserved. 6 ?Tech p.2 (Round-Off), p.4, p.5 Sight pp.6-9 FF1087

Quick Thought: All the pieces use imagery to convey the character of the music—the underworld of
the sea for “On the Ocean Floor,” floating blossoms in the air with “Cherry Blossoms,”
and from the heavens above, chariots descending with “Swing Low, Sweet Chariot.”
This imagery guides tempo and touch, giving an invaluable view into the composer’s
creative thoughts.

19
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

The Busy Machine, p. 32 Cossack Ride, p. 22 Cat Patrol, p. 24

• Key of C major • Key of A minor • Key of D minor
• Programmatic piece • Programmatic piece • Programmatic piece
• Cut time • Cut time • 6/8 study with legato against
• A study in staccato 3rds • Fast, slurred passages with staccato
• Interlinking pattern between crisp staccatos • The mid-section interlude
the hands • Mid-section legato phrases has a legato L.H. melody
give a brief interlude before before the return of the
• The meno mosso passage
the “return” of the cossack “cat patrol”
gives a “human expression,”
so to speak, before returning
to the busy machine.

34 44
32

34 44 24 22
Common Time to Cut Time
The Busy Machine
c =
beats in a measure

the Πgets one beat

Let’s cut
it in half! C =
beats in a measure

the Ó gets one beat

V. Dubliansky
(20th century, dates unknown)
Cut time is also known as alla breve.
Vivace

& C œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.

3

• Tap quickly, feeling 2 beats per measure. Remember, the Ó gets the beat.
1

f C ˙ ˙ ˙ ˙ œœœœ ˙ ˙ ..
œ
?C . œ. œ. œ. œ. œ. œ. œ. 24 22 38 68
1
4
1 2 1 2 1 + 2 + 1 2

• First, play slowly in common time.

Feel 4 beats per measure.
3
• When ready, play faster in cut time.
& œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. Feel 2 beats per measure.
Cossack Ride

38 68f >œ. œ œ œ œ
Allegro ( Ó = 112)
œ
? . œ. œ. œ. œ. œ. œ. œ. &C
4 1

˙ ˙ œ œ œ œ œ w
Count: 1 + a 2 + 1 + 2 +
>1. + a 2 + 1 + 2 +

?C œ Œ Ó œœ Œ œœ Œ œœ Œ Ó œœ Œ œœ Œ
5
œ. . . >. . .
& œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. 5
>1
5
1
5
1
5

œ
? . # œ. œ. œ. œ. b œ. œ. n œ. &
3 4
..
œ œœœ œ ˙ œœœ œœœ
3

˙
4

>.
w
?œ Œ Ó œœ Œ œœ Œ œœ Œ œ Œ Œ œœ ˙˙ ..
Meno mosso œ
>. . . . œ. .
U
3
7 1
1

bœ
3 1

& # œœ œ œ œ nœ
3 2 1 1 5

œ œ
5 5
9

> & w
5

S
U>œ P œ œ œ œ w œ œ œ œ
? Œ Ó ∑ ? Ó ˙˙ w Ó ˙ w
w ˙ w
! 1
5

FF1030
22 Theory p.11 Perf pp.8-9 Sight pp.26-29 FF1087

Quick Thought: The pieces in this set also use imagery to convey the character of the music: “The
Busy Machine” uses staccatos to evoke the sound of a machine while “Cossack Ride”
uses cut time to describe a fast, exciting horseback ride. The title “Cat Patrol” presents
a vivace 6/8 caper that takes our fingers on a D minor rollicking ride.

20
Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Shepherd Pipes, p. 34 Land of the Silver Birch, Fantasia Con Spirito, p. 58

• Key of D minor p. 20 • Key of D minor
• Programmatic piece • Key of D minor • Programmatic piece
• Lyric melody in 2-measure • Programmatic piece • Connected pedaling for
phrases • Lyric melody shaped with the dramatic fortissimo
• Shaping phrases with cresc. cresc. and dim. introduction
and dim. • L.H. 7ths predominate • Energetic melody in 2/4
• L.H. D-A 5th throughout • Connected pedal to enhance • 4-measure phrases
• “Patches of pedal” to the lyric phrases • Accents create rhythmic
enhance the richness of energy
the phrases

34

c = Common Time
c
Shepherd Pipes 34
is the symbol for common time.
Common time is the same as .
44

Tat’iana Salutrinskaya • Circle the c in the music.

(Dates unknown)
24 22
Gently Land of the Silver Birch
4
&4 ˙
5

œ œ
2 1 2

œ œ œ œ
2
œ œ œ ˙
œ œ œ ˙
83 86
Canadian folk melody

p
Words by Pauline Johnson

ÅU
arranged
Flowing along (Π= 138-160)
? 44 ˙ œ œ
&c ˙
lift 1

w w w w œ œ ˙
1 5

w w w w œ œ
1
! F p U
?c
5

∑ ∑ ∑ ∑

œ œ
& œ œ œ
5

œ œ œ bœ œ
5

& ..
?
œ œ œ œ œ œ
2 1 3 1 3

œ œ ˙ ˙ ˙
1 5 2

œ œ ˙ ˙ œ œ ˙ œ œ
F 1. Land
? p 2. High
of the sil - ver birch, home of the bea - ver,

w w
on a rock - y ledge, I’ll build my wig - wam

w
w w
w w
w w
w ? .. w
7th
w
! 5
!
1
!5
!
1

& ˙ œ œ œ œ w
5 4 1

œ œ
2

˙ ˙
? œ œ œ œ œ œ
9
w
U
w
œ œ ˙ w
5
3 1 3 1

w w
Where still the might - y moose wan - ders at will.
&
? w
Close by the wat - er’s edge, si - lent and still.

π rit.
w
? U ! ! ! !
w w ˙˙ ˙˙ & w
w
w w 1
5
Teacher Duet: (Student plays as written and pedals for the duet.)

?c 4
5 9

.. w w w w w w w
1
w w w w w w w
bw w
P-π on repeat
5

20 Sight pp.22-25 FF1087

?
13 17 21

..
FF1030
˙ b˙ ˙
˙ ˙ ˙ ˙ ˙ w w bw
w
w w w w w
rit.
√

106% enlargement

Quick Thought: Composers often present melodies against the simplest of harmonic backgrounds,
as in “Shepherd Pipes” and “Land of the Siver Birch.” The simple, pure L.H. bass lets
the R.H. melody artistically present itself. “Fantasia Con Spirito,” on the other hand, is
at the other end of the spectrum. Full, rich harmony in a robust rhythmic setting
becomes essential to the melody’s successful message.

21
 Piano Literature Book 1 3A Lesson Book 3B Lesson Book

Pantomime, p. 35 Note: Pachelbel Canon, p. 60

• Frolicking, mischievous “Pantomine” is beyond the • In contrast to “Pantomine,”
piece in C major with level of 3A. Consider teaching the Canon is a lyric, andante
colorful accidentals it at the next level. Or, teach it piece in C major
with demonstrations that model
• Short, articulated R.H. slurs • A variety of phrases from
technique, rhythm, and the
• Bitonal passages using short to very long
character of the piece.
clusters and triads • No accidentals—all diatonic
• R.H. octave shifts bring within the Key of C
“orchestral colors” to • Follows a strict chord
the piece (m. 13, m. 31, progression: C—G—Am—
and mm. 41-42) Em—F—C—F—G
• Dramatic ending with a • A peaceful piano ending with
2-hand gesture hymn-like C chords

35

Pantomime
Nancy Faber
(1955– )

Quickly, playfully

& C ∑ ∑ ∑ ∑
p . .
? C œ œœ œ œœ œ. œ. œ. œ. œ. œ.
. . œ. œ œ Œ œ. œ œ. œ œ. œ œ Œ
5 1
2

5
3

& œ œ œ. # œ # œ œ. œ œ œ. # œ # œ œ.
4 2 4 4 2 4 4 2 4 1 4 4

n œ n œ œ. ˙˙
P
. . œ. œ. œ. œ.
? œ œœ œ œœ œ. œ œ. œ œ. œ œ. œ
. .

8
3

& n œ n œ œ. ˙˙ œ œ œ œ œ œ œ œ
4 1 2

œ. œ œ œ œ œ œ
. . œ. Ó œ. Ó
? œ œœ œ œœ œ. œ œ. œ
. .

11
œ œ œ. # œ # œ œ.
4 4 4
n œ n œ œ. ˙˙
4

Œ
4 4 3

& w
3 2 2 2 1

˙.
F
. . œ. œ. œ. œ. œ. œ.
? œ œœ œ œœ œ. œ œ Œ œ. œ œ. œ œ. œ œ. œ
. .
Copyright © MCMXCIX Dovetree Productions. Inc. (ASCAP), c/o FABER PIANO ADVENTURES.
International Copyright Secured. All Rights Reserved. FF1030

Quick Thought: Think of your fingers as the “players in the orchestra” and yourself as the conductor.
Think the tempo in your head so the “players” make a good beginning. You, the
conductor, know the sound of the piece for the “players” to create.

22
Notes

23
 T he P iano M ethod
and P iano L iterature
partnering together...

How do we introduce piano literature within the piano method curriculum?

THREE GUIDELINES
• Similarities of form, keys, articulations, and harmonies

• Comparisons of musical character, accompaniment styles, use of pedaling,

and individual pianistic expression

• Challenges that are well-suited to the student’s reading and technique

The Developing Artist Correlation Charts offer teacher support for integrating
the “classics” early and appropriately in piano study.

90017766