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 Burgm�ller
Ballade, Op. 100, No. 15 Friedrich Burgm�ller
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 V�locit�, Op. 109, No. 10 Friedrich Burgm�ller


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

This collection includes 10 spooky, famous classical works in minor keys--perfect for Halloween, or for any time of year! These pieces are appropriate for students in levels 1-2 of most piano method books. The accompanying video contains a sheet music sample and audio sample of each piece in the collection.

Selections include: Theme from the Fifth Symphony (Beethoven), In the Hall of the Mountain King (Grieg), Theme from Symphony No. 1 (Mahler), Egyptian Dance (Saint-Saens), Toccata in D Minor (J.S. Bach), Slavonic March (Tchaikovsky), Finale (Dvorak), Funeral March (Chopin), Fur Elise (Beethoven), and Funeral March of a Marionette (Gounod).

Check out my other classical collections and hundreds of classical, pop, and video game titles here at Sheet Music Plus by clicking on my publisher name above!

Chrissy Ricker is a Nationally Certified Teacher of Music (NCTM) with a Master's degree in piano performance and pedagogy. Chrissy enjoys composing and arranging music to motivate and challenge students of all ages. In addition to the works she publishes through SMP Press, Chrissy's piano music is also published by Kjos Music Company and Piano Pronto Publishing. Her music has appeared on the piano contest lists of many state and national teaching associations, including the National Federation of Music Clubs. Visit Chrissy's website at www.chrissyricker.com