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Thou and you, Op. 27 no. 3
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You've selected:
Thou and you, Op. 27 no. 3
Sheetmusic to print
4 sheet music found
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1
Thou and you, Op. 27 no. 3 (E-flat major)
Thou and you, Op. 27 no. 3 (E-flat major)
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Piano, Voice
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Classical
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Contemporary
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Nikolay Andreyevich Rimsky-Kor
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Thou and you, Op. 27 no. 3
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AST Publications
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SheetMusicPlus
Composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Romantic Period. Score. 6 pages. Published by AST Publications (S0.302405). - Score - Romantic Peri...
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Composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Romantic Period. Score. 6 pages. Published by AST Publications (S0.302405). - Score - Romantic Period - AST Publications
$9.99 ≈
9.17€
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
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Easy Piano
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BEGINNER
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Classical
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Various
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20 Classical Piano Pieces for
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Scott Camp
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SheetMusicPlus
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by S...
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music.
In my experience, every elementary piano student should be given the opportunity to successfully play:
Spinning Song (even if you leave out the middle section at first)
Minuet in G (page one)
Fur Elise (page one)
Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection.
All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions.
"Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.
Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening.
So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior.
If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly.
"Practice Makes... "
If you said "Perfect" then you've fallen into a sinister trap.
"Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career.
Here's the process in general:
Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?
That's something for us professionals to consider.
Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!
Contents
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
I Allegretto
II Romanze
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
I Allegro
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgmüller
Ballade, Op. 100, No. 15 Friedrich Burgmüller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
I Allegro
Sonatina, Op. 36, No. 3 Muzio Clementi
I Spiritoso
La Vélocité, Op. 109, No. 10 Friedrich Burgmüller
These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering.
The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson.
Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.
Good luck!
Scott Camp
scottcampislandpiano@gmail.com
$3.99 ≈
3.66€
Heidenröslein: Variations on a Theme by Franz Schubert
Heidenröslein: Variations on a Theme by Franz Schubert
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations on
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00 ≈
18.35€
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1
Thou and you, Op. 27 no. 3
