Greatmusic, easy to learn. From the best-selling arranger, Misha Stefanuk, comes every piece you ever wanted to play, and now you can.Easy, masterful arrangements make everyone immediately sound great.For self learners- wonderful music without too much struggle, a greatsight-reading booster, for teachers- a great intermediate confidencebuilder, tons of fun for everyone! Music List: Morning,Hall of the Mountain King, Canon in D, Pomp and Circumstance, FürElise, Blue Danube, Spring, Beethoven Symphony No. 5, Chopin Nocturnein E-Flat Major, Gymnopédie 1, Bach Minuet In G, Bach Minuet In Dminor, Leopold Mozart Minuet in F, Ode to Joy, Brahms' Lullaby, Jesu,Joy Of Man's Desiring, The Skaters Waltz, Musette, Dance of the SugarPlum Fairy from the Nutcracker, Ave Maria, God Rest You, MerryGentlemen, Happy Farmer, Soldier's March, Poor Orphan, Wild Rider,Toreador Song from CARMEN, Rondo A La Turk, Joy to the World,Symphony No. 5, First Loss, Air on G string, Mozart Minuet in G,Mazurka in Bb, Brahms Waltz in A, Elves Dance, Schubert Waltz in B,Beethoven Russian Folk Song, Gurlitt Scherzo, Kohler Waltz,Arabesque, Morning Prayer, Old French Song, German Song, ItalianSong, Reverie, Sick Doll, Trumpet Tune, Teleman Menuet, LeopoldMozart Burlesque, Mozart Minuet in C, Take Me Out to the Ball Game, Omio babbino caro, Nutcracker March, Waltz Of The Flowers, Lullabyfrom the Nutcracker, Grossfater from Nutcracker, BeethovenEccossaise, Brahms Hungarian Dance no. 5, Bach Little Prelude in C,Amazing Grace, Mozart Allegro, Wagner Wedding March, MendelssohnWedding March, Danny Boy, Waltz from Sleeping Beauty, William TellOverture, Lake by the Mountain, Trish Trash Polka, Ragtime, Musetta'sWaltz, March of the Little People, Serenade, March from Aida,Schubert Military March, Moonlight Sonata, Mozart Symphony no 40,Surprise Symphony, Jingle Bells, Cancan, Hallelujah Chorus,Westminster Chime, Eine Kleine Nachtmusic, Mozart Minuet in F, RameauRondo, Paganini Caprice, Happy Birthday, Sheep May Safely Graze,Tocatta in D minor, Skater's Waltz, Habanera, Humoresque, BoccheriniMinuet,The Entertainer, Maple Leaf Rag, Chopsticks, Also SprachZaratustra, Barcarolle, Hava Nagila, La Donna E Mobile, March fromNutracker, Amazing Grace, Jingle Bells, and God Rest You MerryGentemen.

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