Here we offer a beautiful arrangement for easy piano transposed to G Major from the original key in G flat major by Richard Straus. You and your audience will love playing this piece.



Leopold Kupelweiser was the son of Johann Baptist Georg Kilian Kupelwieser (1760?1813), co-owner of a factory that produced tableware. His talents were recognized at an early age by the sculptor Franz Anton von Zauner and by the time he was twelve, he was already attending the Academy of Fine Arts, Vienna.

His brother was the theatrical director Joseph Kupelwieser, who wrote the libretto for Schubert's opera Fierrabras. With his brother, Joseph, he was a member of the "Schubertianern" (friends of Franz Schubert), a group that often got together for summers at the Schloss Atzenbrugg, west of Vienna. In 1826, Leopold married Maria Johanna Evangelista Augustina Stephania Theodora Lutz, an occasion which was marked by Schubert's composition, the "Kupelwieser Waltz" (never written down, but passed along by the family and later transcribed by Richard Strauss).

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

An accessible, exciting arrangement of the popular Moana theme song "How Far I'll Go," arranged for late elementary pianist. Includes finger numbers to help you find your way around the keyboard. Follow us at Judi's Piano on YouTube and Instagram @judispiano for piano playing tips, music samples and an encouraging community of musicians who are learning to play the music they love! We hope to see you there!