German - English - French.

Flutists know Joachim Andersen (1847-1909) as the composer of 188 masterful etudes that have challenged and inspired musicians for over a century. These etudes are his legacy, but they should not completely overshadow his 54 works for flute and piano which include both brilliant showpieces and charming miniatures for the salon. Born in Copenhagen, Andersen learned to play the flute under his father's guidance. He became one of the finest flutists of his day and, as a young man, enjoyed prestigious positions in Danish and Russian orchestras. In 1881, he moved to Berlin, becoming a founding member of the Berlin Philharmonic Orchestra the following year. Andersen wrote most of his flute compositions during this enormously productive and successful period in Berlin. Though his career as a flutist ended in the early 1890s because of a debilitating tongue disease, he continued to compose lovely pieces for his instrument. Because the location of Andersen's manuscript of Opus 56 is not known, the first edition of the pieces, published by Zimmermann in 1894, has been used as the primary source for this publication. The pieces are not difficult as already indicated in the name, but not too easy because a beautiful lyrical tone is needed, you could even call them lyrical pieces as the titles (In Autumn. The Flowers. Under the Balcony. Serenade. From former Times) are not programmatic but rather the expression of feelings.

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

Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or ?choirs? of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.

Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.

I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.

At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at

https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS

As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the ?standards? that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.

Song List: Adoro Devote (th Century Plainsong) Allegro (Anon) Alman (Robert Johnson) An dro An Drochshaol (The Hard Times) An Italian Rant (John Playford) Andante (Anon) Aura Lee Ballade (Anon) Bear Dance (Anon) Beautiful Dreamer Believe Me If All Those Endearing Charms Black is the Color of My True Love's Hair Black Sunday Blessed Reunion Branle Double (Michael Praetorius) Cailin Deas Cr�ite na mB� (Pretty Girl Milking Her Cow) Call The Ewes Canarios (Gaspar Sanz) Carolan's Dream Carolan's Fancy Chanter's Tune Chestnut (John Playford) Childgrove (John Playford) Clancy's Wake Come With Me, My Giselle (Adam De La Halle) Coming Home Cooley's Reel Courting is a Pleasure Darling Nellie Gray Dont vient cela (Susato/Danserye ) Dowland's Ghost (W Bay) Down by the Sally Gardens Drowsie Maggie Endless Horizon Fair Flower Of Northumberland Fields Of Culloden Flint Hills Fortune My Foe (Anon) Gavotte (Michael Praetorius) Golden Fields Greensleeves (Anon) Greyfriars Bobby Grimstock (John Playford) Guardeme Las Vacas (Luis De Narvaez) Guilderoy Hard Times, Come Again No More Harvest Festival Hills Of Ireland I Dream of Jeanie With the Light Brown Hair I Went To Visit The Roses In The Pines Irish Prayer Jock O'Hazeldean John Anderson, My Jo Johnny Has Gone For a Soldier Just A-Wearyin' For You Just Before The Battle, Mother Kean O'Hara (First Air) Kemp's Jig (John Playford) La Folias (Gaspar Sanz) Lady Laiton's Almain (John Dowland) Land of Rest Londonderry Air Lorena Macdonald, Lord Of The Isles MacPherson's Farewell Mara's Theme Master Shardlake (W Bay) Meadowlark Meramec Echoes Mighty Lak' A Rose Moderato (Anon) My Irish Home My Lagan Love My Spirited Love Mystic Valley Ned Of The Hill New Day O Esca Viatorum (Louis Bourgeois) On The Cold Ground (John Playford) Once I Had A Sweetheart Ozark Memories Packington's Pound (Anon) Paper Of Pins Parson's Farewell (John Playford) Pastourelle (th Century French) Pigeon On The Fence Prairie Sunrise Prairie Sunset Pretty Peggy - O Quiet Summer Night Rainfall Remembrance Rose Of Sharon Saltarello (Vincenzo Galilei) Saturday Night Waltz Scarborough Fair Shady Grove She Moved Through The Fair Sheebeg and Sheemor Shenandoah Si pour t'aymer (Anon) Southwind Waltz Spagnoletta (Michael Praetorius) St Martin's (John Playford) Star of the County Down State Fair Storm Coming Summer Plans Sunflower Waltz The Bonny Light Horseman The Boys Of Ballisodare The Brave Lad The Church on the Prairie The Connachtman's Rambles The Flowers Of Sweet Erin The Green The Fragrance of Fall The Galway Shawl The Highlander The Highwayman's Reel The Lark In Clear Air The Lilting Banshee The Lonesome Dove The Long Road The Lost Child The Marsh of Rhuddlan The Mist Covered Mountain (Jig) The Mist Covered Mountains Of Home (Ballad) The Old Country The Old Homestead The Parting Glass The Rambling Pitchfork The Shearing's Not For You The Water Is Wide The Yearling TO a Wild Rose To Drive The Cold Winter Away (John Playford) Trail Of Tears Treasure Of My Heart Tutte Venite Armati (Anon) Village Meeting House Volte (W Bay) Wild Mountain Thyme Wilson's Wilde (Anon) Winfield Waltz