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

This song is simple but evokes a powerful emotional response. It uses space and would be a great song to teach students about keeping track of the time and not losing their place in the music. It has several places where the space is what brings life to the music. It also is a good example of how you can use a simple idea to make music. This song could be used to help teach students the powerful connection between the outer notes, and how the bass line and the melody compliment each other. This song can also be used to set a prayerful mood in a Church setting or for a praise and worship event.
Please contact me with any questions or comments.
jamesdlabal@kc.rr.com
913-424-3256.

"Life Gone By" is an easy piano piece which is suitable for those at beginner to early intermediate level.
It mixes a simple arpeggio based accompaniment with a beautiful, developing melody line in the right hand which not only sounds pleasant but it is easy and quick to learn.
This piece is approximately 1 minute 50 seconds long and so is a perfect length for a music interlude at an event or for a short recital in a school. Overall this piece isn't just suited to one type of event and so is flexible in that regard.
Practice Suggestions: Try learning both hands separately especially the left hand which has the ongoing anchoring feature in this piece (the arpeggios). Then try hands together listening to the recording for the rhythms (particularly the dotted quaver - dotted quaver one which is probably the most challenging rhythm in this piece).
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This tranquil piano composition is recommended for elementary level piano students. It is part of the ACNMP syllabus (Alliance for Canadian New Music Projects). Approximate RCM (Royal Conservatory) Level: 1.

This product was created by a member of ArrangeMe, Hal Leonard?s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

A very easy arrangement with two variations in case you want it to be longer. I have used these for years for students to play at Christmas recitals, concerts and gigs, and for many this was a turning point in enjoyin playing piano! 2016 Holiday Contest Entry

This is a short, big note/beginner arrangement of ?Spring? intended for students who are just learning to read music and are currently studying Level 1 piano, though it may also be a fun, easy song for students who are just starting Level 2.

All Maria Colletti?s arrangements are carefully edited to be accessible for young students who have been playing piano for approximately six months to two years.

Unnecessary and confusing notations have been omitted for the benefit of very young students. Some finger number suggestions are given, but plenty of space is left in the music for students to figure out the notes on their own.