Ukraine's National Anthem ("State Anthem of Ukraine") arranged for four cellos. Proceeds will be donated to humanitarian efforts to help support Ukrainian refugees. Slava Ukraini!

This exciting new teaching method, by the renowned piano pedagogue Hans-Gunter Heumann is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a break from playing. Using classical music as a basis for learning, this method introduces interesting, varied and well-known pieces right from the outset. The two method books have been carefully designed to progress in small manageable steps, beginning with simple fingering patterns and exercises, onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras, such as the Ode to Joy, Fur Elise and the Blue Danube Waltz. Leading the student through a range of exercises, repertoire pieces, theory checks, tips on practicing, playing and technique, and composer biographies, the process of learning is made interesting, informed and fun.
The four supplementary volumes present further material to help learning at each stage of the students' development, as well as offering up a wider range of beautiful pieces, for the solo pianist, or piano duet.

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

ISBN 9781619118171.

Classically trained jazz guitarist Diego Barber presents five well-developed themes and a 3-movement solo sonata transcribed from his outstanding commercial CD recordings: Calima, One Minute Later, Tales, and The Choice. Two of the tracks, aElvira Mariaa and the 3-movement Sonata aBanc daArguina are strictly guitar solos, while aRichia is a solo accompanied by light percussion. aKilianas Mountaina is a reduced score of an extended duet with a pianist, and aDesiertoa and aVirgiannaa include expert sidemen on saxophone, bass and drums. The music ventures from complex melody-chord textures to hard-swinging grooves, all played with spontaneity and a heightened awareness of time, dynamics, color, technique and tone. Even seasoned guitarists will find these pieces rhythmically and technically challenging, but they provide a roadmap to the recordings, and rare insight to the workings of a unique musical mind. Diego Barberas Compositions for Classical Guitar are written in standard notation only, with online access to stellar solo and ensemble recordings. About Sonata aBanc daArguina a\| Diego Barber is a native of Lanzarote in the Canary Islands, just off the northeast coast of Africa; in writing Sonata aBanc daArguin,a the main solo piece in this collection, he was inspired by the major cities, Nouadhibou and Nouakchott, the Banc daArguin National Park, and the desert of the West African country of Mauritania.

The idea for this piece came during the first few weeks in Autumn 2020. It was a melancholy day, and the soft patters of a rain shower had just begun sounding on the roof. During this time, I had been going through much change in my personal life; at the time, it seemed very dire. As I began to put together the Lyrics, melody and harmony for this piece, the reminder of hope for the future uncovered itself. So, a piece first beginning with a distressing feeling of loss arrived at a point of hope for the future.The piece begins with the very centre vocalists clicking at random, ?raindrop simulating? timing, eventually spreading to the whole of the group as if the rain shower is fully set in. The vocal lines were written with the melody in mind, a melancholy song, becoming passionate and resolving the song with harmonies which replicate the feeling of peacefulness and a conclusion of clicks, settling the rain shower.

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.

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