Showcase Pianosh

35102 Comp Showcase Broch 2/21/05 5:07 PM Page 1
COMPOSER
SHOWCASE
HAL LEONARD
STUDENT PIANO LIBRARY
Excellent Material for:

• Recitals
• Competitions
• Seasonal Enjoyment
• Ensembles and Duos
BRUCE BERR FROM THE COMPOSER

I enjoy observing and experiencing nature in all its diverse
BRUCE BERR has been teaching music to
forms. During those times, I invariably end up feeling many
children and adults for over thirty years.
things on a deep level. I hope that some of the variety and
He has taught piano and piano pedagogy
intensity of those feelings come through in my music.
in a variety of settings: universities and
colleges, community music schools, and Advice for Teachers
in his home studio. His compositions are Before beginning to work out details of notes, fingering
found in the Hal Leonard Student Piano articulation, etc., please help the student get an idea about
Library method and solos books, as well as in the the OVERALL sound, feeling and structure of the music.
Composer’s Showcase and Showcase Solos series. Dr. Berr Also, when there are dynamic changes in the score, evoke
has written extensively about the art of teaching piano. His from the student WHY such changes are there: how might
articles have appeared in all of the major piano journals, these relate to the title of the piece? To the sound of the
and he has been an associate editor and webmaster for harmonies at that point?
Keyboard Companion magazine since 1997. He has present-
The Inspiration Behind Bruce’s Music
ed lectures and workshops for professional music teachers’
Creating educational piano music allows me to function as
associations and conventions throughout the United States.
both a composer of expressive music, and as a teacher-by-
Dr. Berr received his degrees in piano and pedagogy from
remote-control! I try to build implied pedagogical
Washington University in St. Louis and from Northwestern
sequences into the motivic patterns and formal structure of
University. He and his wife, Jennifer Merry, live in suburban
the music. Hopefully, this lights up the teacher’s path, while
Chicago.
at the same time gives the student music to play that is fun
and has expressive interpretive possibilities.
Imaginations In Style
Imaginations
In Style
Bruce Berr
Late Elementary (Level 3)
00290359/$5.95
Using mildly contemporary sounds

and colorful pianistic effects, each
song in this book is a vibrant
sound picture that students will
enjoy bringing to life in performance. While the pieces may
be enjoyed simply for their poetic and music content, they
are crafted in ways that help developing students master the
musical and technical concepts needed to play standard
impressionist and contemporary literature. This late-elemen-
tary level book features basic 5-finger patterns, easy rhyth-
mic patterns (including 8th notes), and simple pedal use.
7 Solos: Blues for a Count • Fanfare • Fiesta March • Mountain

Sunrise • October’s Farewell • Sand Swirls • Whoosh!
Expeditions In Style
Expeditions in First Snowflakes

Style Gently floating (h = 60)
Bruce Berr
Bruce Berr  4
Both hands one octave higher throughout
   
  
2 1

Late Elementary/ mp
Early Intermediate (Level 3/4) 

  
    
2
 
3
00296526/$6.95 4
Spanning a wide range of musical  4 

    
2

and expressive content, these
clever compositions are notable    
2  
for both their pedagogical content and immediate appeal   4

to students. 7
   
4
  
4

 
11 Solos: First Snowflakes • The Glue Monster • Lost In The
Jungle • Plaid (Black On White) • Playful Puppy • Pop! • Song
  



About Home • Space Storm • Struttin’ • The Waltzing Worm    
 2 2
• Wandering Song.
10
3
1
4
2
4 simile
  
2
  
  
p mf
 
2  
  
4 2 simile
  
4
Copyright © 1994 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved
Explorations In Style
Explorations
In Style
Bruce Berr
Early Intermediate (Level 4)
00290360/$6.95
Bruce Berr’s hallmark imaginative

style is apparent in each of the
magical works found in this book.
While the pieces may be enjoyed
simply for their poetic and music content, they are crafted
in ways that help developing students master the musical
and technical concepts needed to play standard impres-
sionist and contemporary literature. This book for the early-
intermediate level student continues to expand the musical
palette of impressionist and contemporary sounds and
techniques through expressive, imaginative piano solos.
9 Solos: After the Snowfall • Antarctica • Canyons • Danza

Española • Distant Lights • Droplets • Fantasy Flight •
Kangaroo Dance • Tribal March.
1
BILL BOYD FROM THE COMPOSER

Since Bill is no longer here to speak for himself, we will recon-
BILL BOYD (1933-2001) played piano
struct his thoughts based on conversations many of us have
professionally as both a solo performer and
had with him over the years when he wrote for Hal Leonard.
band member in hotels, supper clubs, and
private clubs in New York and Long Island. Advice for Teachers
Mr. Boyd composed numerous jazz collec- Bill talked often about carefully observing the style differ-
tions, including the Think Jazz piano ences between rock ‘n roll, ragtime, swing, blues and
method and the Jazz Starters series for bebop. It’s helpful to play the solo yourself first, for stu-
beginners. Mr. Boyd was awarded a master’s degree from dents, letting them hear the style and rhythmic vitality of
Columbia University and taught junior high school band and jazz in its best light before asking them to begin to study
stage band in Huntington, Long Island for over 20 years. the piece. Work out tricky rhythms with tapping exercises,
After retiring from teaching, Mr. Boyd devoted all his time to or isolate those passages in the music, working the meas-
arranging and composing. ures so that the rhythms are not just “correct,” but also
sound “just right.” Trust your ear and instincts, guiding stu-
dents along the path to a good, natural, jazz sensibility.
Above all, have fun! Bill would have liked that.
The Inspiration Behind Bill’s Jazz Solos
Bill realized that jazz had to be fun to play and easy to under-
stand for piano students of all ages. More than anything, he
wanted to bring the world of jazz to students at their level of
expertise. So, he did what he always did so well – he wrote
original, jazzy piano solos that are immediately within the
grasp of anyone’s ability, and yet sound like the real thing.
Jazz Prelims
Jazz Prelims Blues Parade

Bill Boyd
M
Early Elementary (Level 1) I

D
D
L
E
5 4 3 2 1 2 3 4 5
00290032/$5.95 L.H. R.H.

By Bill Boyd
Moderately
2
Bill Boyd works his usual magic
with these simple, yet truly jazzy
little solos for the young beginner.
Each piece has a catchy title and
2
feels good to play. The jazz flavor
Bill creates in each solo is a classic hallmark of his creative 5
genius – easy-to-play pieces that give beginning performers

a real taste of jazz style and flair. Various meters, tempos; C
Major; alternating hands melodies; fixed position; Reading
range: middle of the keyboard range; Treble and bass staff
lines and spaces.
12 Solos: Bass Guitar Blues • Bass Guitar Rock • Blues Parade Duet Part (Student plays one octave higher than written.)
Moderately
• Follow The Leader • Imitation • Jazz Time • Love Theme For
A TV Series • A Minor Effort • Smooth Groove • Take A Rest •
legato
Tick Tock The Jazz Clock • Triple Play. 5

2
Jazz Starters
Jazz Starters (I, II, III) CHILL OUT!

Bill Boyd By Bill Boyd
These three delightful collections of original jazz tunes Fast Rock

2 1 5
imaginatively capture the spirit and style of “real” jazz for

the student performer. Each collection features a wide vari-
ety of jazz styles, and is sure to provide many hours of
enjoyment for students of all ages. A perfect introduction to 4
jazz for the elementary to late-elementary level student. 4
Jazz Starters • Elementary (Level 2)

00290425/$6.95
10 Solos: B. B.’s Boogie • Blue Rock • Blues Prelude • Chill Out! •
A Little Latin • Minor Is Finer • Rockin’ The Boat • Stompin’ •
Swing-A-Ling.
7
Jazz Starters II • Late Elementary (Level 3) 2
00290434/$6.95
11 Solos: Dixieland Jam • Hand-To-Hand Combat • Major Song
• Minor Song • Primetime Blues • A Rather Raucous Rock • The
Rock Exchange • Six Ate Beets • Soft Shoe Shuffle • Sweet Swing 4
• Why Not? 10
1 5
Jazz Starters III • Late-Elementary (Level 3)

00290465/$6.95
12 Solos: Back Porch Swing • Boogie Rock • The Dixieland
Tuba • Hickory Dickory Rock • Jazz Theme And Variation • 2
Minor Blue • Ragtime Waltz • Too Blue • Too Cool To Fool •

Copyright © 1993 by HAL LEONARD PUBLISHING CORPORATION
Two-Four-Six-Eight • Woogie Boogie. International Copyright Secured All Rights Reserved
Jazz Starters II Jazz Starters III
Six Ate Beets TOO BLUE

By Bill Boyd
Slowly
2
Quickly ( . = 110) Bill Boyd 1
5 2
5
1
4
1
2 1 2
5
2
5
9 2
1
7
2
5
13 1
1
10 5
1
rit.
5 5 Copyright © 1994 by HAL LEONARD CORPORATION

18 3
3
Jazz Bits and Pieces
Jazz Bits
and Pieces
Bill Boyd
00290312/$6.95
Bill Boyd’s masterful craftsmanship

is readily apparent in these 11
pieces. Slightly easier than his
intermediate-level books, Jazz
Delights and Jazz Fest, this solo collection for the early-inter-
mediate pianist explores a variety of jazz styles from blues
to swing. Bill’s original solos lay out essential style elements
in pieces that fit a developing pianist’s technique easily, pro-
viding students with ample opportunity to develop finesse
through enticing melodies and subtle harmonies. An imag-
inative collection of pieces, sure to please any age. Keys: full
range; Reading: full range of keyboard; syncopation; 2 – 4
page solos; 24 pages.
11 Solos: Chordially Yours • Easy Over • Minor a la Mode •

“Must Do” Blues • Over Easy • Ragtime • Rock-a-Bye • Swing
Ding • True Blues • What’s Up?
Jazz Bits and Pieces Jazz Bits and Pieces
4
Think Jazz!
Think Jazz!
A Jazz Piano Method
Bill Boyd
00290417/$9.95
Bill Boyd created this thorough,

inventive method especially for
young students. Teachers and stu-
dents with little or no prior knowl-
edge of jazz idioms will find this method easy to follow, and
will enjoy the great original songs that form the core of this
informative book. A great introduction to jazz for the early-
intermediate level student. Includes units on: Jazz Rhythms
& Accompaniments • Basic Improvisation • Ragtime • 50s
Rock • Playing From A Fake Book • Blues • Swing • and Boogie-
Woogie.
Think Jazz! Think Jazz!
5
Jazz Delights
Jazz Delights
Bill Boyd
Intermediate (Level 5)
00240435/$6.95
Enticing original jazz solos from

master jazz composer Bill Boyd!
This collection of intermediate-
level solos is a sure winner with
students of all ages. Written in a
variety of styles, each piece highlights a certain mood with
striking harmonic color and rhythmic grace. Many great
tunes, excellent recital material!
11 Solos: Blue Waltz • Satin Latin • Three For Jazz • A

Chording To Charlie • Ballad For Amy • Rock Shock • Latin
Logic • Waltz For Amy • Hang Out • In A Latin Mood • Nothin’
Could Be Finer Than Minor.
Jazz Delights Jazz Delights
6
Jazz Sketches
Jazz Sketches 4
Bill Boyd HOME FRIED POTATOES

Intermediate (Level 5) By BILL BOYD
00220001/$6.95 Moderately = ( = 110)

5
5 3 1
2 3
Elegant, clever, authentically-

styled original compositions char-
acterize this third excellent collec- 1
tion of jazz piano solos for the 5

3 2
intermediate performer by Bill
Boyd. Bill’s suave ease in writing original jazz for the
advancing student performer is evident in each of these
captivating solos. Various meters, keys, tempos; reading
range: full keyboard.
8 Solos: The Bass Man Walketh • Home Fried Potatoes • Move

It! • Oh So Blue • Perpetual Motion • Ragtime Blue • Sound
Advice • Swingin’.

Jazz Sketches Jazz Sketches
14 17
RAGTIME BLUE THE BASS MAN WALKETH

By BILL BOYD
By BILL BOYD
Moderate Rag = ( = 124) 4

2 2
3
Moderately = ( = 110)
1
All Quarter Notes Staccato
4 3
4
L.H. Legato
2
4
1 4 4
4
1.
2 2
3 1
3 4 4
2.
5 5
1 1 1
5
1
4
Copyright © 1996 by HAL LEONARD CORPORATION Copyright © 1996 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved International Copyright Secured All Rights Reserved
Ragtime Blue 1 of 1 kk Piano Solo Jazz Sketches Job#: 55994 The Bass Man Walketh 1 of 3 kk Piano Solo Jazz Sketches Job#: 55994
7
DEBORAH BRADY FROM THE COMPOSER

My music expresses my “inner student.” These are the
Music educator and composer DEBORAH
pieces that would have inspired and motivated me during
BRADY began her career while still an
my student days. Composing gives me the opportunity to
undergraduate, teaching keyboard theory
enjoy the same excitement and sense of adventure I knew
courses at Shorter College. During the same
as a student because each piece allows me to explore a new
period, she also taught private piano and
and different musical landscape.
guitar. Nationally certified by the American
College of Musicians, Ms. Brady currently Advice for Teachers
operates a thriving private studio and composes educational I love to hear my music played expressively. We teachers
music. Ms. Brady holds a Bachelor of Music degree from must, of course, give our students the basic tools that will
Shorter College where she studied with Mr. William Knight, help them build a musical performance, but I live for that
and completed her masters and doctoral programs by exten- magical moment of transformation when the notes and
sion from Victory Institute. Her professional affiliations include: symbols on the page become the student’s own means of
BMI, Music Teachers National Association, National Guild off personal expression.
Piano Teachers, National Federation of Music Clubs, Georgia The Inspiration Behind Debbie’s Music
Music Teachers Association, and the Gwinnett County Music When I compose, I feel as if I have tuned in on a creative
Teachers Association. frequency, much like tuning in a radio station. My “radio”
can be turned on by a word, mood, mental image, or sim-
ply by sitting down at the piano in a receptive frame of
mind. I choose to believe that this “frequency” is God’s cre-
ative force and I am simply a very grateful recipient of the
“broadcast.”
Monday’s Child
Monday’s Child Monday’s Child

A Child’s Blessings Monday’s Child is fair of face.
Moderato (q = 108-120) Deborah Brady

Deborah Brady Both hands 8va
3
3 3

1 2
 
1 4 loco

1
   
3 1
Intermediate (Level 5)         
2 2 2
L.H. L.H. L.H. 1
00296373/$6.95 pp
rit.
    
         

1 1 1 2 1
Can any of us resist smiling when 5
Throughout, use the una corda pedal for pp passages.


5

5
 
we revisit the nursery rhymes of 5
5 3
 
3 1 2
our childhood? Perhaps our love of            

   
1 1
music began with the musical mp
a tempo
    
quality of those words we learned as very young children.     
This collection of solo piano pieces for the intermediate 5

1
 
1

5
pianist is based on the Mother Goose poem that begins, 9

5 3 2
“Monday’s child is fair of face…” These seven short charac- 
 
3

1
 
5
 
4 3

1
    
ter pieces, named for each day of the week, are written in a   1
charming lyrical style, depict the various moods of each day  



 
poco rit.
 
  
of the week’s child. Keys: C, G, F, Am, Em, D. Level: Early 4 5 4 1 1
  
5
 
Intermediate to Intermediate (HLSPL 4/5). Some scale pas-
13
sages in 1-octave; limited use of 16th note passages; some   
2
  
3 4 2 1
       
syncopation; lyrical, Romantic style.     1
1 1
mp
a tempo
    
    
5 1 1
   
5

8
Wednesday’s Child Friday’s Child

Wednesday’s Child is full of woe. Friday’s Child is loving and giving.
Espressivo (q = 100) Deborah Brady

5
      
    1
         
3 2 5 2
   
2 3
Andante espressivo (q = 112) Deborah Brady
   
   
   
1 3 1 1
     
1 1
mp 2 mf 2
cresc. 5 L.H.
 
sempre legato
 
L.H.
p mp
rit.
1   
    
1
  
3

2
     3  5

5
 Pedale simile

5 5 5 5    4
3
1
   5
  2
   1 3
     
2
          
 
   

  
4 5 poco rit.

5 5
5 L.H. simile
 
          
5 3 2
 
 
a tempo
5 
   
1 4 3
 2      
1
 
1 9 1 5
 
   
          
2
       
2
     
5 5 5 5    
 Pedale simile mp
1 1
2 5
2 2
a tempo 5
f
    molto rit.
  

5
 
5
9 3
1
 
    
3 3
To Coda 
   5 4 51

3
1  1  
2 13

1 1 1 2
           

1

2 1
   
poco dim.
    
        
       pp
1
4 1
2
4 3
5 rit.

a tempo
   

    
8 14
Saturday’s Child Sunday’s Child

Saturday’s Child works hard for a living. But a child that’s born on the Sabbath Day
Is bonny and blithe, and good and gay.
Con brio (h = 84-96) Deborah Brady Liltingly (h. = 44) Deborah Brady
   1
  
4
                                   
2 1 4 1 1 1
           
mf mp
          

leggiero
                      

5 5 1 5 5
  
5 3 5
5
5  3  
5
p

5 5 3
 5 1 
4
   
                                   
2 1 1 1 1
    
 2 1
L.H. over
cresc. mf
      
               
           
4 4 5 5
   
5 1 1 4 3 2 1 5
10 3
 
9 1 4 3 3
 5
  
3 1 1 4
        
5 1 3 2
        
  
1
      
f legato
            

                  

 

5 5
    
5 5 4
5 5 1 1 2 1 3 2 1 3 5
5 5 1
15
 3      4 
5
 
13
   
1 1 1 1
1
               
1 2 2 3
       
1
f 1
  
5
mf
   
          
                                    



1 1
2 5 1
1 2 1 2
    
5 2 5 5
5 2 5 2 5
16 18
9
The Toymaker’s Workshop
The Toymaker’s
Workshop The Toymaker’s Workshop
by Deborah Brady
1 Piano, 4 Hands
Once upon a winter’s night, The pinwheels were the first to know.
Deborah Brady A toymaker toiled by evening light, Their head began turning all down the row.
While handmade toys for girls and boys Their colors clashed, they spun, they flashed.
Late Elementary (Level 3) Stood ’round and about to his left and right. They reeled and they wheeled in a gyro-show.
The good man worked till half past three, Now, music box, by magic wound,
00296513/$5.95 So caught up in crafting his wares was he. Awakened its dancer, and up she bound.
’Twas time to close, ’twas time to doze. En pointe, she twirled with arms unfurled,
He should have been home in his bed, Her heart beat in time with the tuneful sound.
Excellent for seasonal recitals or you see.

Above the bench, a doll coquette
any time of the year, these Our toymaker would not rest before
He tried his new yo-yo one time more,
Was seen making eyes at a toy cadet.
And so a glance became romance
delightful duets encourage sensi- So down and up, and down and up,
Then off it went flying across the floor!
As they danced to the Music Box Minuet.
tive ensemble playing for late elementary students. The top-shelf puppets swung and swayed.
The yo-yo rolled without a hitch, They shrugged off their strings, then
But couldn’t quite figure which way jumped and played.
was which. As toes tip-tapped, the other toys clapped,
5 Duets: Music Box Minuet • Pinwheels • Puppets’ Parade • It wobbled here and bobbled there, “Hooray for the marionettes’ parade!”
Then tumbled and toppled upon a switch.
Toymaker’s Express • Yo-Yo. Then every toy in every size
The switch sent shivers down the line Quickened, to Toymaker’s stunned surprise.
And made the toy train run mighty fine, With zips and whirrs and pops and purrs,
Around the track, around and back, They all came to life before his eyes!
Chug-chugging right by the station sign.
What charm possessed his handicraft?
The engine gave a whistle scream The toymaker threw back his head
And tried to catch up with its and laughed.
headlight beam. With hand on his brow, he wondered aloud,
It huffed and puffed, and puffed and huffed, “Maybe it’s magic… or maybe I’m daft!”
And puffed up a powerful head of steam.
But in with the dawn and out with the fun.
The steam took form and billowed high The spell had been broken by morning’s sun.
In cottony clouds that seemed to fly. The music was stopped and all the toys
The steamclouds grew and vapors blew dropped.
A breath of pure magic through The yarn has been spun, so my story is done.
Toydom’s sky.
The Toymaker’s Workshop The Toymaker’s Workshop
Yo-Yo Yo-Yo
Secondo Primo
Deborah Brady Deborah Brady

Brightly (q = 192) Brightly (q = 192)
Both hands two octaves higher throughout.
 
4
                 
2 3
        
    
mp - p
mf - mp
    
                 
 
1 3
5 5
                           
        
                 
          
9 9
3
              
mp
f
      
R.H. 2            

2
                 
   
L.H. 2

3
          
4 5
10
The Twelve Days Of Christmas
The Twelve Days The Twelve Days of Christmas

of Christmas Moderato (q = 72-84)
Traditional English Carol
Arranged by Deborah Brady
 2 2 5 3
Deborah Brady   
1
  
1
    
1

3
     

Early Intermediate/ mf
Intermediate (Level 4/5)  

        
 2 1  2 1
 
5 5 5
  
5
00296531/$6.95
3 5
2
 1 4
1
5

5
1
4
1 1
Following the success of Monday’s        

    
Child, Deborah Brady has com-
posed original works based on the   

       
  
poetry of the traditional carol. This set of pieces is terrific for 1 1 1
4
2
4
1
1
    
5 5
seasonal recitals, especially if performed by several students.

5
Includes optional recorder and drum parts. 
3 5
   
1
       
2 1 2 2
      
 
13 Solos: Twelve Days of Christmas • A Partridge in a Pear 
                
Tree • Two Turtle Doves • Three French Hens • Four Calling 5 2 1    5
   1 5
Birds • Five Gold Rings • Six Geese A-Laying • Seven Swans A-

Swimming • Eight Maids A-Milking • Nine Ladies Dancing • 8
1
5
     
             
Ten Lords A-Leaping • Eleven Pipers Piping • Twelve Drummers    

Drumming.
 

        



   
   
1 5
5 1 5
1 2 3 1
     
3
(32")
The Twelve Days Of Christmas The Twelve Days Of Christmas
Four Calling Birds Eleven Pipers Piping

Deborah Brady Good King Wenceslas
Sweetly (q = 72) Arranged by Deborah Brady
5       3 2 Lightly (h = 76)
1   
        
Soprano
 Recorder
or Flute*            
(Optional)
mp
     
            
4
           
  
1 1 1
3 2 3 3
mp
 
5 5 4
simile Piano
  
    
4
  8va 1  1

   
1
  
5
  
1 1 5 5

      4
   
            
     
 

   
5
  
    
1
3
1

3 2
 
2
 
5 5
3
7 loco    4     
 
2 3
 1
   
     
1
 
   
1 1
p a tempo 5

5
   
rit.
     
   7
 
  

    
          
5
1
1
2
1 5 1
5
legato
3
  
3
5
 2 3 1
10
    2 4 2                
   
3
  
     
1
     
        
                 
       1 1 1 1 1 1
5
1
5

5 5 4 3
     
5
1 2 1 2 1 *Play flute one octave higher than written. Optional recorder/flute part on page 33.
5 3 5
12 30
11
ROSEMARY BARRETT BYERS FROM THE COMPOSER

My music is really a synthesis of 4 previous “lives”: pianist,
ROSEMARY BARRETT BYERS has
teacher, conductor, music theater director.
enjoyed a varied career as pianist, conduc-
tor, theatrical director, teacher, composer Advice for Teachers
and arranger. Since completing a Master After notes, fingerings, dynamics, etc. are learned, try to
of Music degree in piano performance at find the “groove” of the piece. I believe this is ultimately
Indiana University, she has taught children what makes a piece work for the performer and for the
and adults of all ages and levels in a home audience.
studio and at various colleges and universities throughout The Inspiration Behind Rosemary’s Music
the Southeast and Midwest. Several of her original children’s Working with students is the inspiration behind my com-
musicals such as Billy Angel’s Box, Miracle at Maple Hollow, positions and arrangements!
CinderElf and The Weally Weird Wabbitt have been produced
by show choirs and theater companies in Tennessee and
Kentucky. Other published piano compositions include Cat
Tales, More Cat Tales, Clown-U-Copia and Blues Suite.
Sounds of Christmas, Vol. 1
Sounds Of Christmas Deck The Hall

Carols For Two At The Piano
Arranged by Rosemary Barrett Byers Joyfully (q = 120)
Traditional Welsh Carol
Arranged by Rosemary Barrett Byers
   5    
  1   
4
 
4 1
Early Intermediate/ 
1

  
Intermediate Piano Duets Primo
mf f
(Levels 4/5)   

      
 
     
1 1 5
2 2
00296406/$6.95
 
5
  
3
  1 3
1
    

Five classic Christmas carols are
Secondo mf f
included in this delightful seasonal     
        
collection of equal-partner duets for one piano/four hands.   
1
5

Arranged with expert style and finesse, there is plenty of
opportunity for both parts to have the spotlight. Students
will especially enjoy the humorous rendition of We Wish You
5 
5
  
5
    5    4 
1
A Merry Christmas, whose middle section involves a bit of      


musical “sparring.” Easy to learn, yet full and rich sounding, mf
these duet arrangements sparkle with the joy of the season.         
   


  
   
Early Intermediate/Intermediate piano duets (HLSPL Level 5
3
5
1
4/5); Keys: F; C; C/D; E mi; F/G. Meters: Common Time; 5

  2     
  1 2 3 2
3/4; 6/8. Range: full keyboard.     
mp
 
5 Duets: Deck The Hall • Silent Night • Joy To The World •            
 
2
4 5 3 5
What Child is This? • We Wish You A Merry Christmas.

12
Sounds of Christmas, Vol. 1
What Child Is This? Sounds of

Christmas, Vol. 2
16th Century English Melody
Arranged by Rosemary Barrett Byers Carols for

Smooth and flowing (q. = 40)
 2     Two at the Piano
 
1
    
Primo p
Arranged by

    Rosemary Barrett Byers
       
1
5
3
1
5
3 Early
      2 
Intermediate/Intermediate
    1      1            
2
2
  (Levels 4/5)
Secondo
pp 00296529/$6.95

           
     
5
Favorite classic carols make up this book of equal-partner
4 duets for one piano/four hands. Easy to learn, yet full and
 2 1     2      1 rich sounding, these pieces sparkle with the joy of the sea-

3
    
son. Pianists will find them useful and rewarding for both

   
studio recitals and church services.
              
4 4 1
2
4 5 Duets: Away in a Manger (Cradle Song) • Ding Dong!

    2    41       1
       Merrily on High • Go, Tell It on the Mountain • Lullay, Thou
2

Little Tiny Child (Coventry Carol) • Up On the Housetop.
  
 
  

  
  

 
5 5
 1
5 2

14
Sounds of Christmas, Vol. 2 Sounds of Christmas, Vol. 2
Ding Dong! Merrily On High Lullay, Thou Little Tiny Child

(The Coventry Carol)
16th Century French Dance Tune
Arranged by Rosemary Barrett Byers 16th Century English Carol
Joyfully (q = 120-126) Arranged by Rosemary Barrett Byers
Quietly (q = 72)

8va
2
5
    
        simile  
2
1
        
Primo
Primo f
      
   
   
simile

          
1 2
2 5
Quietly (q = 72)
3
Joyfully (q = 120-126) 

1
  
  
5 3 2

 
2 1 1
 
      
fz
 Secondo mp

          
Secondo fz
f

fz
  
    
fz
  
 5
With pedal
2
2 2 1 1
2

5 4
5
4
1

1

1 2 2
    
(8va)
 
5
  
5 3
 
     
2
   
1

mp
                  

       3
2
5
4
5 2 1
   
  
              
4 2
     
p
                         2  1
 
        
   5 2 1 2
2 4 5
  
3 16
13
LUANN CARMAN FROM THE COMPOSER

I quote Debussy, “.....both performer and listener must be
LUANN R. CARMAN has been a profes-
prepared for sudden interruptions and surprises.” That is
sional pianist in Southern California for
what I like about music – it continues to surprise me.
over 28 years, performing both classical
and jazz styles. She began her studies Advice for Teachers
playing classical music and as a college Teach your students the patterns in the music – the chord
student, finding herself surrounded by tal- progression and the melodic and rhythmic repetitions.
ented jazz musicians, started to explore Doing this will make the tunes easy to memorize, so have
the world of improvisation. She holds a Master of Arts them play without the music in front of them sooner rather
degree in piano performance from the University of than later. Then let them “jam away” on the tunes, even if
California, Santa Barbara. making it musical comes later, so they can “ride” the rhythm
For 18 years, Ms. Carman has taught a variety of college- and experience playing in time. They will have a lot of fun!
level music courses, most recently at California State The Inspiration Behind Luann’s Book
University, Fullerton. She has maintained a private piano My students inspired this book. Several of them requested
studio since 1977 and currently teaches in Newport Beach, songs they could “jam” on. I noticed that when I gave
California, along with her husband, Paul Carman, an avant- them blues tunes, they learned them quickly because they
garde jazz musician. She plays both classical piano literature were having a good time. Since I couldn’t find a book for
and improvisations for dance classes at the Idyllwild Arts them that explained blues improvisation, I wrote one!
Academy in Idyllwild, California, where she lives with Paul
and their two sons, Izaiah and Stefan.
Play The Blues!
Play the Blues! Blues Styles A gig is a musician’s term for

a performance engagement by
An Introduction to When a musician is on a gig, or perhaps in a rehearsal,
the leader of the band may call out a tune and say it is a “blues.”
a soloist or a band.
Immediately the musicians think of the 12-bar blues form.
12-Bar Blues and Next they will need to know which style. Some of the many
styles that use the blues form are:
A riff is a short melodic idea
which has a particular stylistic
sound to it; for example, blues,
Blues Improvisation Country
Rock and Roll
1960s Surf
Rock-a-Billy
country, or jazz style.
Swing 1950s Pop Music

Luann Carman Funk
Traditional Blues Style
Jazz Blues
New Orleans Style
Early Intermediate (Level 4) There are two other blues forms, the 8-bar blues and the 16-bar blues, but most blues tunes use the
12-bar blues. As you can see above, just about any style can be played over it. The characteristics
of the riffs, rhythms, bass patterns, etc. will determine the style.
00296357/$7.95
Three Common Blues Characteristics
A song in blues style generally contains three common characteristics. They are:
An easy, yet thorough instruction- • the use of a standard 12-bar blues chord progression
• a repetitive bass pattern, or walking bass
al book using famous, classic blues • the specific forms of the melody and lyrics
and rock tunes to introduce students to the 12-bar blues Let’s look more closely at these three common blues characteristics.
and simple blues improvisation. Each song is prefaced by a The 12-Bar Blues Progression
Many songs use a 12-bar blues progression. If you want to play the blues, you need to be familiar
with this chord progression. In fact, it is a good idea to memorize this chord progression so that you
one-page worksheet to help students master pattern iden- will already know the chords when you begin to learn a new song.
tification, fingering, syncopation, and harmonic progres- The 12-bar blues progression uses the I, IV, and V chords in any key in a distinctive chord sequence
over 12 measures. Thinking in chords (I, IV, V) makes playing in different keys much easier.
sions. Perfect for novice blues pianists, who will derive The examples below show a 12-bar blues progression in its basic harmonic formula, using chords built
on the first (I), fourth (IV), and fifth (V) degrees of the scale.
much pleasure playing authentic tunes and developing
You can see from this diagram that the chord progression is I–IV–I–V–IV–I, moving over 12 measures,
their improvisational skills. or 12 bars, hence the name “the 12-bar blues.”
1 2 3 4

    
10 Solos: Bumblebee Blues • Blue Suede Shoes • Hound Dog I
• I Got You • In the Mood • Jailhouse Rock • Jump, Jive an’ 5 6 7 8
    
Wail • Night Train • Shake, Rattle and Roll • Tutti Frutti. IV I
9 10 11 12
    
V IV I
14
Play The Blues! Play The Blues!
Hound Dog Worksheet Hound Dog

Words and Music by
K
• Fill in the chord symbols for D blues. (Refer to page 7 if needed.) Medium Rock tempo (iq = q e) Jerry Leiber and Mike Stoller
  
   
D
         
3 5
 
      
     
mf You ain’t noth - in’ but a hound dog cry - in’ all the
7
        

 
  
     
  
5

3 2
1 
3

  
G
     
• Is the beginning of Hound Dog the pick-up measure or the first full measure of the song? 3
Right Hand       
The right-hand melody, measure 1 through measure 4 below, repeats later in the piece. time. You ain’t noth - in’ but a hound dog
• Which measures repeat this phrase? Measure _____ through _____.        

   
        
         
3
    
5
    5
   6

  
D
     
5 3
  
You ain’t noth - in’ but a hound dog cry - in’ all the time.
   
+ 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1
a. Circle the fingerings on the Fs in the excerpt above.

cry - in’ all the time. Well, you ain’t
 
b. Clap and count the excerpt.
c. Play the excerpt.

      
Left Hand – Grace Notes     
5
Normally, grace notes are played just before the main note. Grace notes are notes that are 9
 A7 G7
 
However, it is far too easy to get thrown off rhythmically if you added to the main notes of a
don’t have much experience with them. At first, you might like to
try “crushing” the grace note and the main note at the same time,
phrase. They can be found in
melodies and in accom-             
then releasing the grace note quickly while continuing to hold the paniments. Grace notes are nev - er caught a rab - bit and you ain’t no friend of mine.
main note of the melody.
  
written in a smaller note size,
preceding the main note.
    
Play the left-hand D chord below. The fingering (1–2–5) is
different from what you might expect for a root-position chord.     
This unconventional fingering will prepare you to add grace
notes later.
  11 1. 2.
 
 
D D
   
1
2
5
 
Play the D chord in the following rhythm: Now add the grace notes.
 
   1 + 2 +

3 + 4 + 1
   1 + 2 +

3 + 4 + 1



     


   
    
       
 2
1   2
1  Copyright © 1956 by Elvis Presley Music, Inc. and Lion Publishing Co., Inc.
5 5 3
Copyright Renewed, Assigned to Gladys Music and Universal Music Corp.
All Rights Administered by Cherry Lane Music Publishing Company, Inc. and Chrysalis Music
Practice Hound Dog, hands together, without the left-hand grace notes. When you can do this with the International Copyright Secured All Rights Reserved
correct rhythm and without hesitation, add the grace notes. * Practice hands together without the left-hand grace notes. When you can do this with the correct rhythm and without
hesitation, add the grace notes.
22 23
Play The Blues! Play The Blues!
D Blues Improvisation Exercise 12: Let’s Improvise More Melodies
Create you own improvisation in the blank measures. Notice that some measures have sample, A good improviser will start with a single melodic idea and then will expand on it. Let’s briefly review
improvised notes to help you out. the basic characteristics of blues melodies and lyrics.
There are three melodic phrases, four measures each, in the 12-bar blues:
K First phrase (measures 1– 4): is played over the I chord.
Slow Blues tempo (iq = q e)
Second phrase (measures 5–8): often repeats the first phrase. Even though the melody here
  D7
    
may be identical to the first phrase, the harmony changes to the IV chord, giving the phrase

4 1 2 1

  
a different sound.
    Third phrase (measures 9–12): completes the musical sentence, and sounds like an ending to the
first two phrases. The harmonic progression leads from the V chord, to the IV and finally, ends on I.
mp
For example, take a look at School Day Blues.
           

   School Day Blues
4
G7
 Slow Blues tempo (iq = q e)
K
 
4
       D7 3
     
3

                  
I’m e - lev - en years old, and I got the school day blues.
      
   5
 G7 3 D7
          
3
  
7
D7
   
A7         
  
    
1 2 1 1 2
I’m e - lev - en. I got the school day blues.
   
Tip: Stay above treble C in this 9
 A7 
measure because you’ll be playing
       
3 G7 D7
        
3
  
a high A in the very next measure.
   
     

  I get to play all day, to - mor- row’s Sat - ur - day, there’s no school.
10
  
The blues lyrics formula will help you to improvise. Let’s quickly review:

G7 D7
      First phrase: an introductory lyric line
  Second phrase: repeats the first line

Third phrase: the rhythmic word pattern changes, and the new lyrics complete the thought
Tip: Connect measures 10 & 12
by playing some descending scale
notes, from high G down to the D Again, the second phrase is the same as the first. Make up your own lyrics and—surprise!—a melody
above middle C.

  
will appear! You can make the words silly, or “down-and-out,” as in School Day Blues. In Exercise 13:
  Improvisation, create your lyric lines first, writing them into the music staff over the given bass line.
 Then, improvise a melody that fits your lyrics.
48 51
15
SONDRA CLARK FROM THE COMPOSER

Humor and beauty are very important to me, and people
SONDRA CLARK is a graduate of The
often tell me my music reflects that. I also like to try new
Juilliard School of Music in New York City;
things, like working with “odd” rhythms and creating
San Jose State University, where she
melodic and harmonic surprises – above all, music should
received a Master’s Degree and an
never be boring!
Outstanding Music Student Award; and
Stanford University, where she completed Advice for Teachers
her Ph.D. on an Ella Moore Shiels My dearest hope is for teachers and students to enjoy play-
Fellowship for Academic Excellence. Her composition teaching my music, to have fun with it.
ers have included Vincent Persichetti, Norman Lloyd, and The Inspiration Behind Sondra’s Music
George Perle. Dr. Clark was a member of the San Jose State There really isn’t a time when I’m not inspired to compose!
University Music Faculty for twelve years, teaching music Music, new and old, swirls around me almost all the time –
theory, history, and advanced piano. She is an international- I find myself humming in supermarkets and bank lines.
ly recognized specialist on the music of Charles Ives and a Music is a wonderful companion – when you can hear
long-time Bay Area music critic. Now retired from teaching music, you’re never alone, and I believe we all have this gift.
and music criticism, Dr. Clark devotes herself to composing
full time. Since 1990, over forty of her compositions have
won honors, including a 2001 ASCAP award. Her works are
performed internationally and have received unanimously
enthusiastic resonse.
Three Odd Meters
Three Odd Meters 3+3+4

1Piano, 4 Hands
Sondra Clark
Sondra Clark Brightly (q = 120-144)
 
5
  
3
Intermediate (Level 5)  
Primo mf cantabile
00296472/$6.95 
    
Brightly (q = 120-144)
With Poulenc-like playfulness,   
2
 3 1     simile
   

3+3+4 combines groups of eighth
Secondo mf
notes in a rhythmically unconven-  
         
tional way. Players will revel in its 1        
5
wry humor and bright, outgoing manner. Timing: 1:47.
Pentatempo Waltz trips the light fantastic, sweeping across
the ballroom with elegance and grace. Timing: 2:54.
4
5   
Two-Timing plays with the similarities and differences           
between 6/8 and 3/4, with the music shifting between the cresc.
two meters flexibly and often. Timing: 1:31.   


This collection makes outstanding recital fare or studio 4
ensemble pieces for intermediate-level pianists with the          3   

requisite technical skills and musical imagination. cresc.
3 Duets: 3+3+4 • Pentatempo Waltz • Two-Timing  

       
        
Copyright © 1999 by Sondra Clark

All Rights Reserved Used by Permission
16
Three Odd Meters Three Odd Meters
Pentatempo Waltz
9
   4 
        
 
1
Sondra Clark cantabile

Smoothly (e = 160-184)
        
 
Primo
9
    
  
    
5 4 5 4
   
     
 
Smoothly (e = 160-184) 5 5 5
2
1
3
1
5 4 3 2
   
    
1 1 1 1
        

      
       1
 
5
Secondo mp
    
            
  
13
  4    
        
5 5

1
   
4
 
1
      
mp
    
    
13 4
  5
4   
1       
3 3
     
5
4
4
3
4
2 5
   
1
   
1 1 1
      

1
2
    

              
            4
 simile
4

10 11
Three Odd Meters Three Odd Meters
Two-Timing
9 simile 5 4
   2 1   
4
 4 1  5     4    2   
 
  
Sondra Clark
4    4       simile
    mf cantabile
 *      4       
                 

  
 3

1 1
1
Primo mp leggiero 3
4
       
9 3
                

    
1 3
          
 simile

1
2
5
mf cantabile
     
    
             
      
1
1 3
Secondo
 
4
     

5 3 5 2
8va
2  3   2
13
3  5 2   
5 4
 3
3 5
    1  


4 2 
4

1

         
4 (4) 1 1 2
1 1 2

mf cresc.
cresc.
   
    
                
2
4
   3 1 4

13

5
  
5      3   
        2
    
    
     
1
1
mp leggiero mf cresc.
        
1
     
           
 
2 1 3

1 2
5 (5) 5
*Groupings determine meter

  

21 22
17
Dakota Days
Dakota Days Wake Up, Wake Up

Sondra Clark Sondra Clark
Brightly (q. = 66-88)
Intermediate (Level 5)  
2
 3       
2

       
1 1 1
   
00296521/$6.95 p
      
      
 
Evoking the awareness of beauty 1 1 1
in nature and in all life, these

 5         
4
Native American-inspired pieces          

     
will appeal to both teenage and
   
cresc.
       
    
   
adult students. 
       
 1
4
2
5
1
2
1
4
2
5

1
  2
5 Solos: Setting Sun, Shadows Gray • Tiny Raindrops Falling
5
Softly • Wake Up, Wake Up! • When I Go in Beauty • Where      

4
 
       
8 1
1     
2 2
the Mustangs Run.      

1 1
mf cresc.
    
    
   
  1
1
5

5
1
5
 
5
  
2
3
    1 1 3      
12
2      
2
     
1
    
f cresc.
 
     
   
     
 1
4
2
5
1     
    2  
Dakota Days Dakota Days
When I Go In Beauty Where The Mustangs Run

Sondra Clark Sondra Clark
Dolce cantabile (q. = 52-60) Steady gallop (q. = 80-96)
  2 3

3
 
2 4

5
 
    
1 2 1 1 2 3
     
 
      
  
p mp mp cantabile
simile
            simile                           
                     
1 2
   
2 3 5 1
5
simile
lightly
5 5
  
1
    2  
4 5 4 3 4
   1 
2 2
   
4
 
2
       

     
   
cresc. mf
                            
        
              
1 4
 1     
5 2 1

9 3
 52   
1
  
 2  
3 3
     
  1 
          
   
cresc.
mf
                                   
                   
1

2 1 2
5 2 3 5
5 5
2 2 13
       2  

13 4 1 5 1 5 4 2 5 4 2
     1   

3 3 3 3 2 1
       

1 1
             
  
dim.
f poco rit. a tempo
                           
                   
  2         2
5
3 5 1 1 1
3 2
6 12
18
35102 Comp Showcase Broch 2/22/05 9:49 AM Page 19
Favorite Carols For Two
Favorite Carols
For Two
Arranged by Sondra Clark
00296530/$6.95
Sondra Clark lends her magic touch

to four-hand arrangements of these
familiar carols. Outstanding fare for
seasonal recitals and church services!
Six Duets: Ding Dong! Merrily on High • God Rest Ye Merry,

Gentlemen • Good King Wenceslas • O Little Town of Bethlehem
• Silent Night • Up on the Housetop.
Favorite Carols For Two Favorite Carols For Two
O Little Town Of Bethlehem Up On The Housetop

Music by Lewis H. Redner Music by Benjamin R. Hanby
Arranged by Sondra Clark Arranged by Sondra Clark
Con espressione e poco rubato (q = 69) Playful (h = 72-84)

    
    
Primo Primo

    
    
Con espressione e poco rubato (q = 69) Playful (h = 72-84)
       

4
             
3 4 1
1        
2
            
 
2
mp cresc. mp
Secondo Secondo
      1          
2 1 2
             

 


   
     
5 5
5 4
2 1     3
       
4 2 Both hands 8va
4    5  
4 5
     
         
3
     
mp cresc. mp
               
                     
 

1 2 2 3
  1
2 4 1 1 2
       

4 5
 
4
       
  
        

1
mp cresc. mp
   


  
            
    
   
  simile
24 34
19
MATTHEW EDWARDS FROM THE COMPOSER

There is so much of “me” in my music, but if certain ele-
MATTHEW EDWARDS made his formal
ments are expressed the most, those might include the sen-
debut as a piano soloist with the Carolina
timental, reflective side of me, as well as a good amount of
Youth Symphony Orchestra at the age of
fun and surprise.
eleven, after only two years of piano study.
Since that time, he has performed many Advice for Teachers
concerts throughout the United States, My music is very melodically dominated, so focus on voic-
and has been a prize winner in numerous ing and tone production; look for the harmonic surprises
competitions, including the Grand Prize in the Stravinsky and put a special bit of emphasis there. And have fun!
Awards International Piano Competition and First Place in The Inspiration Behind Matthew’s Music
the 1990 Music Teachers National Association Collegiate I believe my best inspirations come from people and places
National Finals. He has studied piano with Laurence Morton that are close and dear to me, either currently or in my
and Robert Weirich, and in 1999, he completed his Doctor memory. I’ve been inspired by my wife and children, by
of Musical Arts degree in piano performance at the Peabody friends, even by specific locations, such as Central Park in
Conservatory of Music, under the instruction of Robert New York City, and the moonlit lake at the summer camp I
McDonald. Currently, he is an Assistant Professor of Music at attended as a child.
Anne Arundel Community College in Arnold, Maryland and
maintains a private piano studio at his home and continues
to perform and present workshops and masterclasses
throughout the Mid-Atlantic region. Matthew resides in
Columbia, Maryland with his wife and their two children.
Concerto for Young Pianists
Concerto for Commissioned by The Greater Laurel Maryland Music Teachers Association
Young Pianists Concerto for Young Pianists

In memory of Laurence H. Morton
2 Pianos, 4 Hands I
Matthew Edwards Moderato (q = 88) By Matthew Edwards

  
Intermediate (Level 5) Piano
Solo
00296356/$12.95    

Moderato (q = 88)
A NFMC Junior Concerto choice for 5
 3
                    
2004 – 2006, this dazzling inter-       
Piano II mf
mediate-level concerto in two-
      
  
piano/four-hands format is destined to become a “classic”     
Con pedale
student concerto. Written in three movements, the piano-
solo part includes two exciting, dynamic outer movements
1 5
with plenty of opportunity for the soloist to shine. A lyrical          
2 5 1
   
3
 
3 1
 
                    
R.H.
middle movement provides ample contrast to the lively         

 
outer movements. An imaginative second-piano part pro- L.H.
mf 5 3 1
3
4 5 1
vides complementary support to the solo part throughout.

• Folio includes two complete scores for performance.

   
• Now a Book/CD! 3
  
                              
        
mp simile


   
   
   

 
     
20
Concerto for Young Pianists Concerto for Young Pianists
II
8
            
3
  
     
5 4 3 1
 
Adagio (q = 66)
        
              
 3 2 3
     5
1
Piano
Solo
    
8
           
              
          


 
 


Adagio (q = 66)
          
        


          
mp
Piano II R.H. 1   Con pedale
                     

                 
 
              1   
5
L.H. 5
11
        4
  


2 3 1
   
1 3
  
4
3 
1 2     
      
mf
                       
         
 
     
5 2
 1 3
1 3 1
3 1
11
               
4
                            
           
         
                        
               
  
p
     
     
 

Con pedale
20
19
Concerto for Young Pianists Concerto for Young Pianists
4 
        
128
      
120
     
     
2 4 3 1
                
       
1             
      
f 4 mf mp
   
128 4
   3 1
3
                            

120
           
                                       
           

                               
mp non legato
                                      
               1 2 3 1
                 
Both hands 8va

 
 
   
132
              
   
                         
124

              
              
 

 
                sub. p
ff
 
 
132 
  
5
 1
4 4
2 8va
 
        
1
        
3 1 3 1 4 2
124
              
                                  
            ff sub. p sffz

                                         
  
         
                  
                 
 
3 1
1
3 3
47 48
21
MICHELE EVANS FROM THE COMPOSER

Animal Tone Poems expresses my affection for all life on this
MICHELE EVANS has been composing
planet. It’s a reflection of my deep respect for the creatures
and improvising since she started music
we share this world with. As a child I spent many hours out-
lessons at age 6. After an intensive 12-year
doors, studying ant hills, birds in their nests, and observing
period of classical piano training, her for-
nature in general. I felt connected to the wildlife I encoun-
mal study of music was continued at
tered and found an inner serenity communing with my nat-
Michigan State University, Berklee College
ural environment. This collection is my tribute to preserving
of Music in Boston, and UCLA. During her
balanced ecologies, animals and their habitats.
time at UCLA, Michele was the recipient of the BMI/Jerry
Goldsmith Film Scoring Scholarship Award. She was also Advice for Teachers
chosen to compose an original composition for full orches- Animal Tone Poems is written for the intermediate student
tra at the ASCAP Workshop in Los Angeles, where she con- and the songs are perfect for recitals. Each one is a musical
ducted her work at the Fox-Newman scoring stage at Fox journey, a glimpse into the world of an animal. Allow the
Studios. Michele is an accomplished jazz pianist and com- student to interpret what the animal may be encountering,
poses solo piano literature as well as music for feature films. what kind of environment it is in, any other thoughts that
She maintains a private music tutoring service for gifted stu- come up when they play the composition. Use those ideas
dents in northern California, where she lives with her hus- to enhance the performance.
band, Evan, and their son, Elliot. The Inspiration Behind Michele’s Music
I am most inspired by the joy that I feel when my pieces are
played by students, the musical growth I see taking place as
a result, and the pleasure of knowing the sounds I create are
adding more beauty to the world. For Animal Tone Poems, I
let each animal dictate the notes I put on paper. It’s the mar-
riage of music and the imagination that is magic for me.
Animal Tone Poems
Animal Tone Bullfrogs

Poems Lilting (q = 138)
Michele Evans
Michele Evans      
      
2 1 4
     
Intermediate (Level 5) mf

mp
00296439/$6.95         
       
       
3  2
1
2
5
Delightful and imaginative titles 5
 4    3 3
are the creative inspiration for the           

2 2 2
       
music in this book. Each of the ten
f
solos in this collection of tone    
             
poems describes a different creature: Monarch Butterfly,      
3 3 3 2 1 1
Sea Anemone, Black Stallion, Fawn, Dolphins, Crickets,

4
Bullfrogs, Great White Shark, Raccoon and Blue Whale. The 9
  2
5 3
5

2
2
5 
1

1
     
1 1 1 4
      
solos vary in length from short, one-page vignettes to       
longer musical depictions. Various tempos and meters and p
moods throughout; Keys: G, C, F modal, G-Flat, D, F minor,      


        
   
E modal, A; Reading range: full keyboard.    2 1 4 1
5 3

13
   
4 5 4
2 5
    
2 1
   
         
mf
      
              
1  3  1
 1
5 8vb
22
Animal Tone Poems Animal Tone Poems

14
3 
5
  1
Monarch Butterfly      
Michele Evans
           
Joyfully (h = 66)

     
4
            
                        
1 2
  
p legato throughout
(q = q)
 17
      
         
2
                
1
 3           
5
p
          
4         

2    
4
      
                        
1
    
mp 21
 3   5   
                 
3 3
           
 2 1           

4
     
       
7

  4

     1 2            
5
                        
25
(q = q) (q = q)

 
4
          
 
p

1 2
    
            


            rit. pp f

a tempo
     
   
  
5

10
  5
 1  
(q = q)
1
5
        
2
            
28


    
                 

mp
      
f
     
        
 
            
 
5 2 1
      

16 17
Animal Tone Poems Animal Tone Poems

5
2 4
8va


Sea Anemone 16
      1
3
2
1 1 
             

Michele Evans
Weaving (q = 132)
 1              1        1   
5 5 5
2 2 3 rit.
       

    
mp legato throughout

 
 
4
 
         
1
  18
5 5
5 5

2 2
1 2 1 2 1 1
               
  
4
          1
                   
4
  
2
mp
a tempo
      
pp

      
5
   
     5
21
2   1    1          
2 5 5
1 5 2 3
                  
7 1
3    
5
 
5
       
4 4
                
1 1 3 1 2 1 2
 
           

            
   
3 1
24
    
10
2   1 2           
5 5 5
          
2
    

1 1
    
         
f
     rit. a tempo
         
    
      5  
         
5 2 1 2 1
13
              
8va

 
  
26
         
               

     
mf
          p
     
rit.
 

      
  

5
 
1

3
     1 4

4
 
20 21
23
PHILLIP KEVEREN FROM THE COMPOSER

I think we are all pretty complicated creatures, capable of a
PHILLIP KEVEREN, a multi-talented key-
wide range of emotions. I approach the piano in a different
board artist and composer, displays a
mood every day, and the pieces I write on any given day
tremendous versatility in both his concert
will reflect that. For some reason, I tend to enjoy writing
performances and his original works. He
works that explore a bittersweet sentiment.
composes in a variety of genres, and is
widely acclaimed for his piano publica- Advice for Teachers and Students
tions. Phillip is co-author and the MIDI Keep your eyes open for all hints on the printed page
orchestrator of the internationally acclaimed Hal Leonard (dynamics, articulation, etc.) that will help in your interpre-
Student Piano Library. He also arranges the folios of award- tation. I am trying my best to relay MY intentions. But, in
winning movie hits such as Beauty and the Beast and Titanic the end, use your own creativity and musical sensibilities to
for Hal Leonard Corporation. Mr. Keveren holds a Bachelor make the piece speak for YOU. I often hear performances of
of Music in Composition from California State University, my compositions that are slightly different than I imagined,
Northridge, and a Master of Music in Composition from the but are musical in every way. That is thrilling to me!
University of Southern California. Phillip resides in The Inspiration Behind Phillip’s Music
Tennessee with his wife and their two children. I imagine the student in a recital. What piece will make them
sound GREAT? What kind of piece will be exciting for them
to share with friends, parents and grandparents? What piece
will inspire them in their continuing musical development? I
often think back to my own experiences as a student and
draw upon those memories.
Mouse On A Mirror
Mouse On Mouse On A Mirror

A Mirror
And Other Contemporary Scampering (h. = 63)
By Phillip Keveren
Character Pieces 
       
1 2 1
Phillip Keveren  

pp p mp
Late Elementary (Level 3)    
   
00296361/$6.95 
1 2 1
Kids just want to have fun, and

5
they will have weeks of fun with   
1
5
              
1 2
this delightful collection of late-elementary piano solos by    

L.H.
master composer Phillip Keveren. Each solo explores a dif- pp
1
p mp mf
      
ferent mood or conjures up a vivid musical image that        
young pianists will thoroughly enjoy recreating at the 1 2 5
piano. The rich musicality of these solos makes it hard to

believe that they remain in 5-finger patterns throughout. Both hands 8va
    
9
   
1 1
Playful and imaginative, these pieces will win the hearts of
   
1
students of any age.   

L.H.
1 1

p pp p crisply
 
   
5 Solos: Downhill Daredevil • Four Moods • A Misty Morning   
• Mouse On A Mirror • Quick Spin In A Fast Car • Summer 1
Cloudburst.
24
Mouse On A Mirror
Quick Spin In A Fast Car

Shifty-Eyed Blues
And More Contemporary
As fast as you dare! (h. = 69-72) By Phillip Keveren Character Pieces

    
3 3 3
Phillip Keveren
       
mf Late Elementary (Level 3)
     

 00296374/$6.95
1 2 1
4
3 A sequel to Phillip’s first collection
   
 1
   1
   of original solos for the late-ele-
cresc.
mentary student, Shifty-Eyed Blues
        
provides more hours of pianistic fun with lively, imaginative
2 3 3
piano solos sure to enliven lessons and recitals! Each piece
7
3
remains for the most part within simple 5-finger positions,
  
1
        shifting around the keyboard in a clear and easy manner.

1 1
 Evocative titles encourage interpretations that have a wide
   
ff

  
    range of emotional and imaginative character. Level: Late

3 3 1
3
Elementary (HLSPL 3/4); Keys: C and F Major; Reading
Range: Full staff and ledger-line notes; accidentals; limited
10
use of syncopation.
    
3 3
      
  mf
    5 Solos: Tadpole Tag • Shifty-Eyed Blues • Prayer • Roundup!
  • Rock! Goes The Weasel.
1
Shifty-Eyed Blues Shifty-Eyed Blues
Shifty-Eyed Blues Round-up!

3
By Phillip Keveren By Phillip Keveren
Sneaky Swing (q = 112) (swing eighths q = q e) Ride ’em Cowboy! (q = 200)

5 5 5
     
1 1 1 1
     
     
 
 
mp f  
            
 
  
    
3 3 2
          1
5 1
 1 5
5 5 5
4 4
5 5
   
1 1 1
      
4 3 2 1

          
 

 
           
  
           
 
    
7 7 5
 
4 5 1

3
   
1
 
3
 
2 1
     
mf
         
   
            
3 3 2
5 5
4 8
25
Tex-Mex Rex
Tex-Mex Rex TEX-MEX REX

Phillip Keveren
Late Elementary (Level 3) TAP PREP
R.H. R.H.
00296353/$5.95 1
L.H.
2
L.H.
No faster than a dinosaur can dance

Young students’ fingers will surely 1 3 2 1
dance to the music with this

delightful set of solos! Each piece
brings to life friendly dinosaur
characters and also a favorite 2 4 2 5 2
“watering hole,” The Fossil Funk Café! Charming dinosaur

illustrations that students can color are interspersed 4 3 4
5 1 3 2
throughout the music pages. Features mainly 5-finger posi-

tion solos in a variety of lighthearted moods; eighth notes;
some syncopation; hands-together passages; some hand-
position shifts; simple meters. 1 2
6 Solos: The Brontosaurus Bop • Dancin’ Dinos • Lights Out At

7 3
4
2
The “Fossil Funk” • Tex-Mex Rex • The Triceratops Two-Step.
5 3 2 5
Copyright © 1993 by HAL LEONARD PUBLISHING CORPORATION

8
Tex-Mex Rex Tex-Mex Rex
THE STEGOSAURUS STOMP LIGHTS OUT AT THE “FOSSIL FUNK”

TAP PREP
R.H. TAP PREP
1 R.H. R.H.
L.H. 1a then... 1b
L.H. L.H.
R.H.
2
3
L.H. All tuckered-out ( = )
R.H.
3
L.H.
Surefooted (not fast!) 1 2 4
5 2 1
4
5
7 3 2 1
simile
7 1 2 4
1 2 4
5 2 1
Copyright © 1993 by HAL LEONARD PUBLISHING CORPORATION Copyright © 1993 by HAL LEONARD PUBLISHING CORPORATION
14 20
26
Romp!
Romp! Commissioned by the Indiana Music Teachers Association & Music Teachers National Association
Romp!
A Digital Keyboard Fast (h = 118)
for Cheryl Everett & the Water Street Players
Phillip Keveren
Ensemble for Six Players I     
    
Phillip Keveren II
Piano
    
Intermediate (Level 5) III p cresc.
    
 
Book/CD 00296549/$9.95
    
Book/GM Disk 00296548/$9.95 IV
    
Drums R.H.
Sure to inspire students and thrill V              

L.H.
p cresc.
audiences, this vigorous composi-  

Jazz Bass

VI              
tion is both blisteringly hot and way cool at the same time! p cresc.
Scored for six players at six MIDI keyboards, the piece was 1 2 3 4
commissioned by the Indiana Music Teachers Association    

I 
and the Music Teachers National Association. Jazz Guitar
         
II 
mp cresc.
   
  
III
 
      
    
IV
    
V             
        
VI        
5 6 7 8

Romp! Romp!
Requires own keyboard. Requires own keyboard.

Instrumentation:
vibraphone
Romp! Instrumentation:
piano
Romp!
Part I Part III
Phillip Keveren Phillip Keveren

Fast (h = 118) Fast (h = 118)
         
p cresc.
    
5
 
4 2 1 3
    
5
3 5 4 4
  
1 2 1 2
   
9 R.H.
    3 1 3 2 1 3 1 3    
4
 
    

   
       
mp cresc.
L.H. 1 4 2 1 1 2
5 3 4 4
 9
   
13 2 3
  1
  
               
2
ff 
 
      
17 2

5
 
(R.H.)
       
13
3
mp
  
1
      
ff mp

21
        2         
4
   
4 1
       
1 1

1
4
   
1
4
DO NOT PHOTOCOPY 25 DO NOT PHOTOCOPY 37
27
CAROL KLOSE FROM THE COMPOSER

I must confess that I am in love with the piano, so I try to
CAROL KLOSE, an accomplished per-
explore every facet of the piano’s sonority, hopefully creating
former, teacher, clinician, composer and
beautiful and meaningful music that touches the listener and
arranger, teaches piano and composition
the performer in a special way.
privately in Milwaukee, Wisconsin.
Formerly on the faculty of the Wisconsin Advice for Teachers
College/Conservatory of Music, she has I think it’s helpful to begin by playing the piece, or part of it, relat-
conducted workshops and master classes ing the style and character to the title. I’d also have the student
in the U.S. and Australia, specializing in student composition. try any unusual techniques – for example, moving between
With over twenty years in the music publishing field, her 8va’s, hand crossing, or clusters. If the piece focuses on a partic-
original works include piano solos, duets, art songs, a musi- ular technical skill, I would demonstrate how to perform that skill
cal version of Dickens’ Christmas Carol, as well as pieces in the with ease and relaxation. Above all, I would have the student try
Hal Leonard Student Piano Library and the NGPT Allison a few measures or a melodic line up to tempo, to give him an
Contemporary Piano Collection. Ms. Klose holds degrees in idea of the kind of sound he will be striving for at home.
Piano Performance from Rosary College (Dominican The Inspiration Behind Carol’s Music
University) (Summa cum Laude) and Villa Schifanoia The sounds and movement in nature inspire many of my
Graduate School of Fine Arts, Italy. student pieces: for example, tweeting birds, sea creatures,
or swirling wind. Life experiences and emotions also play a
big part in the mood of my compositions. Lyrical, balanced
melodies are important to me, while at other times some-
thing inside me wants to break loose with a Latin beat or
snappy jazz rhythm. Whatever the inspiration, I feel that a
piece must always make musical and technical sense, so
that it can be played and interpreted with ease.
Coral Reef Suite
Coral Reef Suite

Carol Klose STARFISH SERENADE
Gentle Waltz tempo (q = 138)
 By CAROL KLOSE
Late Elementary (Level 3) 
3
1 
         
00296354/$5.95 mp
2
L.H. over
     
      
This masterful collection of mildly 
3 2
contemporary solos for young stu-


5
dents explores clusters, pedal
effects, and whole-tone patterns in         
2
4
L.H.
an evocative, imaginative way.   
pp
  
Each piece beautifully describes its title with inviting sounds   
2
and colors. Great recital material! Features mainly 5-finger


3
position, easily-learned solos; eighth notes; whole-tone pat- 9

1

  
3
    
1
terns; damper and sostenuto pedal; hands-together pas- 

1
mp
sages; some register shifts; simple meters. L.H.
p
   

7 Solos: Angelfish Arabesque • Ghosts Of A Sunken Pirate Ship 1
• Invaders Of The Reef • The Jellyfish • The Lonesome Hermit 13 R.H.
 
  
2
Crab • The Sea Anemone • Starfish Serenade.  

2
 
 
4
mp L.H.
   
 
4
Copyright © 1994, 2002 by HAL LEONARD CORPORATION

28
Coral Reef Suite Coral Reef Suite
Coral Reef Suite Coral Reef Suite
THE LONESOME HERMIT CRAB

Woefully (q = 72-92) By CAROL KLOSE
      
 
1 3 1
  
p
pp       
   

5 1 5
  pedale simile
4 8va
        
4
    
3
1 2 1

pp
   
     

 
2 5 1 5 2 5 2

8
loco
           4
 
2 1
 
mp mf mp
       

     
5 2

Slowly
13

8va
    
5
       
1 2 1

very lonely
pp

   

rit.
    
1 3 5
4
8va
Copyright © 1994, 2002 by HAL LEONARD CORPORATION

11
29
Fanciful Waltzes
Fanciful Waltzes Crystal Ballerina

Carol Klose Carol Klose
Delicately, with motion; in “one” (q = 162; h. = 54)
Early Intermediate (Level 4) R.H. 8va
4 
    
5
      
2
00296473/$7.95 
p

         
The waltz has been popular since  

5
the late 1700s, making it the old-

est of all ballroom dances. While 4
(8va)
 4   
all waltzes are written in 3/4 or         
triple time, the music itself can p
portray a variety of styles and emotions, as these five imag-       

  
 
inative pieces beautifully illustrate. Whether it’s the delicate 
purity of Crystal Ballerina, the jazzy harmonies of Lullaby in (8va)

7
   
5
Blue, the wry humor of Maestro, There’s a Fly In My Waltz, 3   4 2 1

  
the Viennese charm of Petite Waltz, or the sinister eerieness
of Transylvania Ball, there’s something in this collection to      
      
appeal to every early-intermediate student. This music is 5
3 5
 
outstanding teaching material, as well as first-rate recital (8va)
11
fare. Keys: F major, D major (2), B-flat major, C minor.  

5
    
     
5 Solos: Crystal Ballerina • Lullaby in Blue • Maestro, There’s A  

       
Fly In My Waltz • Petite Waltz • Transylvania Ball
   
Fanciful Waltzes Fanciful Waltzes
Lullaby In Blue Maestro, There’s A Fly In My Waltz

Carol Klose Carol Klose
Tenderly (q = 112) Moderate Waltz tempo, with a lilt (q = 168)
  3  
5
  
4
       
1 2 3

5
     
   

   
2
1 mp
  

mp espressivo
      
      
   
1 2
     4 1
2
5
 
3 4

5
4
  3   1
 
2 2 3 5
      
  
1
 
2 1
     
1
   2

1
            
         
  simile
Presto (“Fly” motif)

 4 
7 Tempo I
  32      
 
7 5
  5   
3
   
1
  
      
3
  
1 2 L.H. 2
1 3 mp
mf p
   
1
      
  
  
1
  
  
 5
4 1
2
5
10 10
 2
5

3
   
3 1
   
5
          


   

4
2 2
1
1
     
            
  
5 5
5
8 14
30
Traditional Carols For Two
Traditional Bring A Torch, Jeannette, Isabella

Carols For Two Primo
17th Century French Carol
Arranged by Carol Klose Cheerfully (h. = 72-80)
Both hands play one octave higher than written throughout.
Arranged by Carol Klose
Late Elementary (Level 3) 

 
4
 
    
00296557/$6.95 mf
   
    
Perfect for seasonal recitals, these 
1
delightful duets will bring a smile

to the face of all who hear them.
Late-elementary students will 5
enjoy playing the timeless melodies and sonorous har-     

  
monies of these beloved Christmas carols. Optional percus-
sion for Pat-a-Pan adds timbral variety to the festivities.     
   
5 Duets: Bring a Torch, Jeannette, Isabella • Gesù Bambino •
The Holly and the Ivy • Pat-A-Pan • Ukrainian Bell Carol.
9
      
  
  
    

Traditional Carols For Two Traditional Carols For Two
The Holly And The Ivy The Holly And The Ivy
Secondo Primo
Traditional English Carol

Arranged by Carol Klose Traditional English Carol
Brightly (q = 126-152) Arranged by Carol Klose

Both hands play one octave lower than written throughout.
       
Both hands play one octave higher than written throughout.

5 4 5
       
1 2
     
mf mf
  
               
 
5 1
5 5
    
5

5
      
5 1
         
3 1 1
       
mf

p
      
f
        
2 1 1 1 1
5 5
9 9
   
5
 
5
 
1
       
1 1 5
           
 
f mp
   
    

        
1 1 1
5 5 5
22 23
31
JENNIFER LINN FROM THE COMPOSER

All that I do in music comes from the heart. As complicat-
JENNIFER LINN, an accomplished per-
ed as the heart can be to explain, it requires expression to
former and composer in St. Louis,
reach maturity. I want others to experience the joy of music
Missouri, is a contributing composer and
through the piano and I try to express this desire in every
arranger for the Hal Leonard Student Piano
piece I write.
Library. Ms. Linn has maintained a private
studio for over 20 years. Her compositions Advice for Teachers
have been selected for the National Before attacking all of the technical demands, be sure to
Federation of Music Clubs’ festival list and have been fea- attract students to the music first. If students are first intro-
tured in Keys magazine. Jennifer has presented lectures and duced to the character, mood, and musical interest of a
workshops for professional music teachers’ associations and piece, they are more motivated to work on the skills need-
conventions and frequently adjudicates festivals and com- ed to achieve a successful performance. Enthusiasm is con-
petitions throughout the Midwest. She is currently on the tagious.
faculty for the 2004 Illinois Summer Youth Music Piano The Inspiration Behind Jennifer’s Music
Camp where she has taught every summer since 1998. Ms. Beauty. Delighting in a moment of life. Inspiration might
Linn received her B.M. and M.M. in Piano Performance come visiting a spectacular place, looking out our kitchen
from the University of Missouri-Kansas City (UMKC) window, or in an innocent glance. It appears in a sweetness,
Conservatory of Music where she was the winner of the a pure thought, a silly giggle. Sometimes the beauty is a
Concerto-Aria Competition. tearful reality, but nonetheless beautiful when expressed
through music.
American Impressions
American Wilderness Morning

Impressions Jennifer Linn
Andante (q = 84)
Jennifer Linn 5
  3   
 4
  1         
2 1 2
Intermediate (Level 5) 
p mp
00296471/$7.95   
     
   

 
1  1
 
5 5
This collection was inspired by the

sheer beauty of the American land- 4
4    4   1 2 1        
     
scape and the ongoing pioneer 3 3 3
pp
spirit which continues to shape our
great nation. The vivid sound images in each piece keep a     
  
pedagogical purpose always at hand, with the pianistic chal-
lenges providing practical techniques to prepare the late- 7

5 4
    
intermediate to early-advanced pianist for the beloved mas-  
p
terworks of Debussy, Ravel, Griffes, or Copland. Perfect 
  
  
material for recitals, these pieces are 3–6 pages in length.    
 

6 Solos: Midnight Skiing • On The Horizon • Sea Breeze • 10
5 4
    1 2
  
1



Soaring • Spirit Of The West • Wilderness Morning.      
2
     
  3
mp
mp
mf
 
   
L.H. over
  
  

  
5 1
    
32
American Impressions American Impressions
Midnight Skiing On The Horizon

Jennifer Linn Jennifer Linn
Lively (q = 156) Walking with courage (q = 84-96)
 
 
L.H. over

8va loco
   
  1     
3 3

5

5 3
    
    

 3 2
3 3 5
3 1 3 4 5 3 3 3
3 3 3 2

2
mf 1 1
 
R.H.
     
3 3
  
     

         
      mp freely poetic
   
5 3 3 3 3
    
     
  

5 5
3 3
   1 1 1
        
4 5
   
1
      
5
    
3 3 5
3
f
3 3 3      
            5
   5
2
1
 
2
1     
         
 
  
   mf
7
       
3
   
1
       
     
3 3 3    
3 3


pp mf
      
3
 

 
       

10 (L.H. over)
    
2 1 2 2-1
 5 3
 3 3
    
2 3 2
   
    
10
     
(R.H.)
     
5 3
     
3 3 3 3 3 simile
                   
3 3 3 3 3 3
  
p

3 3 3 3
           

      

3 3
 
14 18
American Impressions American Impressions
Sea Breeze Spirit Of The West

Jennifer Linn
Jennifer Linn
Flowing and carefree (q = 120) Decisively (q = 188) 8va
5 
4
   
5 1
 
5 
                    
1
         
3 2
 
1 2 1 2

p mp mf poco accel. f
            
       
  
  

      
5 2 1 2
L.H. over R.H.
4  3 2 1 2 5 3
5
Fast and spirited (q = 114-120)

5
  
5 (8va)
                     5 3 1 2 1 3  1 2 1 5 4  1 2 1
   
3 2
                        
2 1
1 1
 
p mp
    
     
  

   

   
         
2 3
1   
5 L.H. over R.H. 1
5
1
5

5
9
    7 loco
      5 1 2 1  
                          
    
3 4
     
2

2 4 2 3
 
   
mf p

          
   
  
         
 
    


  
1     

5 2 5

5
 
13
     
9

8va
 
2
 
5 5
   
         
5 2 1 2 1 1
    
 
           
    
mf p p

   
                  
             

   2 1 2

5
23 26
33
Les Petites Impressions
Les Petites Les papillons à la lumière du soleil

Impressions
Butterflies In The Sunlight
Jennifer Linn Jennifer Linn

Rapide et léger (h. = 60 - 62)
Intermediate (Level 5)  3 1   5  

5
    
            

00296355/$6.95
p
        
This collection was inspired by the 
             
1 2 4
 1 3 5

desire to have more preparatory 
literature available for the interme-
diate-level pianist to explore the
   
5
unique pianistic and musical challenges of the impression-      1 

     

ist style. Pianists who study this stunning set of solo pieces
will experience the layers of color, touch, and timing so R.H.
   
          
2
necessary to a fine interpretation of this style. Imaginatively    5 3 1
5
titled, with rich texture and color, they are a wonderful  
introduction into the half-tint world of impressionist piano
music. Musical directions are written in French throughout,
9  5 
5   
as in the works of Debussy, and the book includes a glos- 1 3   

sary of French musical terms. Titles in French and English. L.H.
2
L.H.
2
6 Solos: The Cat And The Gnat • Evening Tide •      

 

1 2
 
5 5
Moonshadows On The Mountain • Butterflies In The Sunlight
• A Lighthouse In The Fog • Marcella’s Doll. Copyright © 2002 by HAL LEONARD CORPORATION
Les Petites Impressions Les Petites Impressions
Un phare dans le brouillard Les ombres de lune sur la montagne

A Lighthouse In The Fog Moonshadows On The Mountain
Jennifer Linn
Lent (q = 80)
5     

  
1
  

Jennifer Linn
dans une brume doucement sonore
3
 Expressif et tendre (q = 100)
 1-2
  4 
R.H. 3 3 3 3 3
  
              
2
  1  
           
pp 2
L.H. 3
 p
  
1 

              
   
  
   

     
5
   2 3 1 2
 1 3

2
  
5 5
5
 
 

4
   1 2    2 1 3 
simile 4 5 3
R.H.
    
R.H.

3
   
doux et fluide
     
3 1 3 2 1
        
      
   mp
L.H.
4 2 L.H. 1
    
2
       
3
 
  
          
   
 2 1 3
    
8va 5 2
8

8va
5 3   
                    
2 1
 
3
 5  
       
5-3
3
p

3
     

      

3   mp
   
 
1
           
3 1

2
 
3
mf
      
   1 4
   
4

5
 
8 12
34
12

 Plus modèré ( q = 72) pp
 
Le chat et le moucheron   
avec humeur
     
The Cat And The Gnat          


4

2 3
Jennifer Linn 1 2
p 1 mf
 3  3
 
mp
 4 
5
 
   
Scherzando
     
5
      
  5 3 1
  =       R.H.2 

     
3
 
          
2   
2 2
3 3
mf L.H. 3 L.H. (le chat)
pp
très sec
       
L.H.
 
  = rapide 
pp
  5

3

15
    
1
       
4
Rapide et léger (q. = 208)        
5 3 1 5         
    2

   
1
 mf f

  3     
            
mp
  
  
   
      
2 2 2 2
4 2 1 4
pp
      
pp
17
   
 
au mouvement
6
         
  
          
         
 
mf
mp
 3  3
    mf
   
              
                
     
pp
      
9

pp
 

   
19
           
             
 
   
p mf
 mp p un peu retenu
                   
   
 
 
          
   
Copyright © 2002 by HAL LEONARD CORPORATION   
pp
     
16
17
La marée de soir
La poupée de Marcella Evening Tide
*Marcella’s Doll Jennifer Linn
Jennifer Linn Fluide, gracieux (q = 116-126)
Dans le style d’un Cake-Walk (h = 100)
       
5
  
4 4
4

       1    
5
  
2
     
mp
  



p
           
   
        
          
4 1 5
2
1
3
4 5 4 
5 1

5
  
      
4

3 3
             5 5 4 2
        
    

    
         
   
        
         

 
9 5
4
R.H. 1
   
2 3
1
         

5
       
     
mf 3  
 1        
R.H.
 
      
2
      mp
  
       
1 2 1
1
5
         
  pedale simile

   
13

5
    
         
 7
 
      
    
f

        

          
4 2 1

1
  cresc.
        
       
*One rainy day Marcella Gruelle found her grandmother's faceless rag doll in an attic chest.
Her father, Johnny Gruelle, added the famed black eyes, triangle nose and stitched mouth, creating the Raggedy Ann doll.
19
21
35
AMY O’GRADY FROM THE COMPOSER

AMY O’GRADY received her Bachelor of Advice for Teachers
Arts degree in piano performance from Why not collaborate with beginning students in every bit as
the University of California, Santa Barbara. deep a way as you would the advanced: What patterns –
She is a former member of the California such as repetition, imitation and sequence – do they see on
State Young Artists Guild and author of the page? Where is the most challenging section, and why
Building Musical Intelligence: Theory not learn it first? What dynamic markings or articulation
Worksheets That Really Work! She is would they add as finishing touches? Embracing as many of
renowned for pedagogical, highly musical arrangements of their answers as possible – especially when they differ from
familiar works, originally created for use in her own teach- ones we as teachers have in mind – makes each piece a
ing studio. two-way adventure, and ultimately results in students who
Ms. O’Grady is a past reviewer of educational materials for trust and enjoy their own musical instincts. I’ve been con-
the award-winning Piano Education Page, and has con- tinually amazed at the unexpected directions familiar music
ducted workshops for teachers throughout the western takes when immersed in this approach with even the
United States on such topics as “Using Piano Ensembles as newest of my students.
Teaching Tools,” “Practical Solos Every Pianist Should The Inspiration Behind Amy’s Music
Know,” and “Developing Logic and the Art of Piano When colleague Elizabeth Tanguy and I started a piano/key-
Playing.” She resides in Simi Valley, California with her hus- board ensemble program in our community, we challenged
band Tom and their son Connor. ourselves to create balanced, imaginative parts for our
piano ensembles. What fun we had in creating them, espe-
cially in tribute to the music and cultures of the world.
“Let’s play it again!” is still the most gratifying and rousing
refrain we hear from students and audiences alike.
World Gems
World Gems
Folk Songs for African Noël
Piano Ensemble Conductor’s Score
Arranged by Amy O’Grady

Early Intermediate (Level 4) Performance Configurations
00296505/$6.95 Two Pianos
Fostering collaboration between play as

written II
teacher and students, these six play as

written I
arrangements of familiar interna- play as

written III
tional folksongs create exciting sonorities for electronic key-

boards and/or pianos. OR
Three Keyboards
6 Ensembles: African Noël • Choucounne • El Condor Pasa • (with suggested instrumentation)
Jasmine Flower Song • Mexican Hat Dance (Jarabe Tapatio) •

kalimba
Sakura (Cherry Blossoms). (adjust
volume up)
I piano II
hah
chorus
III
7 World Gems Ensembles
36
World Gems (Conductor’s Score) World Gems
African Noël • requires own keyboard.
African Traditional
Suggested instrumentation:
kalimba (adjust volume up) African Noël
Arranged by Amy O’Grady Part I *
With spirit (q = 92-96)
  
    



 
 
  
    
African Traditional
*I       
      
   
           
        
         

   
 

     


      
     
II Clap! Clap!
  
 
 

  

            

    
   
4
 1 
2
     
 5
     
        
III Clap! Clap!
   
       
(melody)
             

1 2 3 4
      
    
   
   
        

             
I       
   
9
     

          
          
         
 
  
      

 
      
     
II Clap! Clap!
 
   
  
  
             

   
            
 13
III
          
Clap! Clap!
           
                 

   
5 6 7 8 (loud whisper)
 
(echo)
    
“No - ël!”
       
       

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved
World Gems Ensembles 8 DO NOT PHOTOCOPY 13 World Gems Ensembles
World Gems World Gems
If you are: If you are:

• sharing the keyboard with Part III, • sharing the keyboard with Part II,
play as written.
• seated at your own keyboard,
African Noël play as written.
• seated at your own keyboard,
African Noël
play as written. play as written.
Suggested instrumentation:
Part II Suggested instrumentation:
Part III
piano hah chorus
African Traditional African Traditional

         

With spirit (q = 92-96) Arranged by Amy O’Grady
          
4
           
1 2
     
Clap! Clap! Clap! Clap!
                   
(melody)
                    
 
          

5 5
          
      
       


Clap! Clap!
  
Clap! Clap!
          
       

     
            

9
           9
          
      
4
 
1
 
2
    
 
Clap! Clap!
             
Clap! Clap!
       

     
            

13
          

13
        
        
4
      
1 2
  
(echo) (loud whisper)
(loud whisper)
             
“No - ël!” (echo)
“No - ël!”
       
      
            

World Gems Ensembles 16 DO NOT PHOTOCOPY World Gems Ensembles 18 DO NOT PHOTOCOPY
37
MONA REJINO FROM THE COMPOSER

As a composer, my goal is to create musical works that will
MONA REJINO is co-author, contributing
encourage students to express themselves fully through this
composer and arranger for the Hal Leonard
marvelous medium we have at our fingertips — the piano.
Student Piano Library. Ms. Rejino maintains
an independent piano studio in Carrollton, Advice for Teachers and Students
Texas, where she has taught students of all I am a strong believer in the value of playing pieces and
ages and levels since 1983, as well as recordings for my students to help them have an idea of
teaches privately at the Hockaday School “what is possible.” After carefully analyzing all the expres-
in Dallas. She frequently adjudicates festivals and competi- sion marks in the score, we explore how to bring the music
tions throughout the area. to life so that each student can make it their own.
Mona is a member of Who’s Who of American Women. Other The Inspiration Behind the Music
professional achievements include two recordings, Music for For musical inspiration I draw upon various scenes and expe-
the Adult Student and Pupil Savers, produced and distributed riences that have been personally meaningful. Somehow,
by the National Piano Foundation. Her compositions have memories of sights, sounds and feelings find their way on to
been featured in Keys magazine. the printed page. Using imagery to paint aural pictures
Ms. Rejino received her Bachelor’s Degree in Music at West encourages pianists to perform artistically, and to find their
Texas State University, and completed her Master of Music own means of self-expression.
in Piano Performance at the University of North Texas under
pianist Joseph Banowetz.
Portraits In Style
Portraits in Style Westward Journey

Six Character Pieces for Mona Rejino
With energy (h ca. 100)
Piano Solo 5 5
 2 4
  
1 1
Mona Rejino   
      
   
Early Intermediate/ mp
    
Intermediate (Level 4/5)  
2
 
00296507/$6.95
4 1 2 5
       
 
1
We often associate specific feel-        

ings with a place or scene, and mf
      
revisiting those visual images in our memory helps connect     
us to the feelings they brought about. Using imagery to
paint aural pictures also encourages pianists to perform
7
artistically. The moods of the pieces in this collection are  1 2 4             

     
varied, including a toccata, as well as Romantic,
Impressionistic, jazz, and ragtime styles. Keys: C Major, D   
    
Major, F Major, G Minor.
6 Solos: Carnival Rag • Cathedral Echoes (Harp Song) • Late- 10

   
2 
5
   1  
1
     
2
Night Jazz • Nocturne • Reverie • Westward Journey.  

p
  


   

 
1
5

38
Portraits In Style Portraits In Style
Reverie Carnival Rag

Mona Rejino Mona Rejino
Lively, with humor (h = 76-84)
 
5
Andante con moto (q = 100-108)
    5 3 2
  2 1 
3
1 
4
     5 5
            
2
    
   2          
  
p
L.H. 2 
  2 f
  
4
p
            
          
2 3 2
 2 1 5 2
5

5 5
4
     4
 3

1
4      
3 1
           
 
3 1 2 3

mp
   
            
        
       
 3 1
5 2 5 2 5

 3   
7
  2 4 
7
 3 1     1 3 4 2 1 2 3
      
4
      
  
              
         
   
5 5 1 5 2 2 3
  
5 2
5
2
10
1
4
  
2 
1
   10 2 2
    
       
1 1
 
1 3
 
1
             
2 3 3 4 3
 
mf
    f
            
      
 

         
2 2 1 2
 5 2 2 3  3 2 1

5 1 2 1
9 12
Portraits In Style Portraits In Style
Nocturne Late-Night Jazz

Mona Rejino
Expressively (q = 116) _  Mona Rejino
 =  
3
    Moderate swing (q = 120-138)

        
   
1 1 2 1 3
   
2
     
1
mp
    

    mf
       
   
4 1 4 5             
2
   simile 1
 4
  
4
   
         
1 2 3
       
   
  
1
 
1
     
     
5 1 5 1 5 2 2            
3 3
9
5 
5
   
 1  2 1  
     
1
7
5
      
mp
 

   
    
 
              
 
4 4 5
3 2
  
13
     
5
3
 
1 2nd time
3     10
5 to Coda 
   
3 2 4
2
       
1
    
      
  
       
 
5
4 
International Copyright Secured All Rights Reserved Copyright © 2004 by HAL LEONARD CORPORATION
15 18
39
MIKE SPRINGER FROM THE COMPOSER

The piano is my first love, and I devote most of my time on
MIKE SPRINGER maintains an active
performing, teaching, and composing for the instrument. I
schedule as a pianist, teacher, composer/
enjoy composing a wide variety of styles, depending on the
arranger, and adjudicator in the Dallas,
mood I'm in on any given day. I would encourage all stu-
Texas area. His students have won top
dents to compose music for their own enjoyment and the
prizes in many competitions in the fields of
enjoyment of others. It is a terrific creative outlet!
performance and composition. Mike has
composed and arranged extensively for Advice for Teachers
piano, electronic media (MIDI), vocal ensemble, and wind I’m aware of the difficulties teachers face when teaching
ensemble. He has arranged and performed music for nation- intermediate literature, especially jazz. Some of the chords
al television commercials and documentaries. Several of his and voicings may not be as familiar to some students. To
piano solos have been chosen for the National Federation of counter this, I strive to keep a “patternized” approach to
Music Clubs. Mike is an accomplished performer in classical much of my music, especially jazz. Tell your students to
and jazz styles. He has produced and performed on two of identify any patterns which are readily recognizable.
his own CDs as well as those of other performing artists, and Inspiration Behind Mike’s Music
has performed in the United States, South America and The inspiration for a great deal of my music is Nature itself.
Europe. He is currently the pianist at Trietsch Memorial I love nothing more than to go to a cabin in the woods to
United Methodist Church in Flower Mound, Texas. Mike become inspired. I also get inspired to write by daily events
studied piano with Dr. Pamela Paul at the University of North occurring in my life, whether it is viewing an Autumn Sunset
Texas, where he earned his Bachelor of Music and Master of or going out to a Friday Night Café (two of my solo sheets).
Music degrees in Piano Performance. My wife, Christy, constantly inspires me with her continual
love and support. Most of all, I am grateful to God for the
ability to share my music with others.
Christmas Jazz
Christmas Jazz Away In A Manger

Six Carols for Piano Solo Quietly, with freedom (q = 72-80)
Music by James R. Murray
Arranged by Mike Springer
Arranged by Mike Springer 4 4
  1 5   3   1   
5 2 2
        
p
00296525/$6.95  
       

 
   
 2 1 4 4 3 2 1 1 2 1
5 5
2
Spice up your Christmas party or With pedal 5
4
seasonal recital with these jazz-  5   5    5 
5
    
4
   
inspired arrangements of familiar 
mp
carols. Superb fare for both
     
teenage and adult pianists. 
 
     
    
5
3 5 2 2 
5 5
6 solos: Away in a Manger • Deck the Hall • It Came Upon the 8


5
   5 
  5  
  
Midnight Clear • Jingle Bells • Silent Night • We Wish You a
Merry Christmas. p
  2 
   
3
     
1
5
1 1  
2 2
5 5
12
 
 
2 4
 
         
               

       
 5
1
5
1 2
1 2
1 2
5 5
Internationsl Copyright Secured All Rights Reserved
40
Christmas Jazz Christmas Jazz
Deck The Hall Jingle Bells

Traditional Welsh Carol
Arranged by Mike Springer _  Music by James Pierpont
 =  
3
Caribbean style (q = 132) (iq = iq) Arranged by Mike Springer
5
Slow swing (Big Band Style) (q = 88)
     5  4 
3 5
5
5 5  4
1 4

2
        1
2
   1
1 3
 
2 4
     1
4
             

1
 
1 1
           
     
f
f
    

                    

 
   

   

    3   
            

4
   
 
3
1 2
2 4 3 2 4
5 3
5
4
3

5 4
5
4 4
1
    5 5 3
   
2
          
       
 
mf
  
  
   
 

     
      
       
 
5
5 2 1
 1
   
2 1
3 5
5
5
7 5 2
1 5
4

7
 5 4
2
5
2
5
3 2 4
   1
1
       
1 2
   
3
    
2 4
         
1
 1
  
          
1
    
    
         
 
                
    1 5     
1 1 5 1 5
5 2 2
5 4
5
10 10
    2
4
         
2
         
1 1
              
        
   
  
 
                     
 
          
 3 2 1 1 4

2 2 1
4
6 10
Christmas Jazz Christmas Jazz
Silent Night We Wish You A Merry Christmas

Music by Franz Gruber
Arranged by Mike Springer Traditional English Carol
Peacefully (q = 60) _ 
 =  
3
Arranged by Mike Springer
5
Jazz Waltz (q = 120-132)
 1
2
5
5 
   
5 5
 

1 2
  
4
        2
 
        
1 4 4 4
   
    
  
mp 
p
       
   

         
2 1
1
   3 4 2 3           
2 5 2 3
With pedal 5
  8va
  1  
5 3
 1 5 5
2
4 1 5 1
   
5
       
 
       
5

        
4 5 5 1
         

  
5
  
L.H.
rit.
   mf mp
      
    
5            


4
loco
9 4 4
 1  
2 2
9
  
1
       4
 
4
   
1 1
            
  
a tempo
          
cresc.
     
            

      
5
1 4 1 2
 1 5 1 3 5 1 3
5 5 2 2 2
3 3 3
13 4

3
 5    
5 2
   
5 3 13
      5 
1
        
4 1
     
1 1 2 2 1
 
     
  
mf
          
 
        
         
1
5
1
5
1
5
2
5
1
5
2 3 5
1
5
5
 4 5 1 1 1

2 4 2
3
14 21
41
35102 Comp Showcase Broch 2/22/05 9:34 AM Page 42
CHRISTOS TSITAROS FROM THE COMPOSER

The music I write expresses mostly the emotional part of
CHRISTOS TSITSAROS, contributing
myself. This is not to say that the intellect does not step in to
composer and arranger for the Hal
mold those emotions into a musical entity. I feel the need of
Leonard Student Piano Library, is Associate
stronger images and symbols; music is the only thing I’ve
Professor of Piano Pedagogy at the
found so far that can do that.
University of Illinois at Urbana-
Champaign. The recipient of numerous Advice for Teachers
scholarships and awards, Dr. Tsitsaros has My main goal when I write music for the piano is to stir stu-
appeared in recitals, chamber music concerts and as soloist, dents' imagination and to make them participants of the
and has participated in various workshops and conferences emotions engendered in the piece and their imagery. Every
as a performer and lecturer in Europe and the United States. interpretative aspect can be linked to this idea. Therefore, the
He gave his New York debut at Weill Carnegie Hall in 2001. best advice I can give to teachers is to have students internal-
ize the images and emotions and talk about them, before
even attempting to tackle the technical aspect of the piece.
The Inspiration Behind Christos’ Music
I sit at the piano and “get into the groove” by simply let-
ting my fingers follow the path, not unlike a blind person. I
am often amazed and surprised how far they can lead me
and how much they can dig out. I then realize that this
piece may express such feelings, ideas, and images that I
experienced at one point. Only then do I “suggest” a title,
which of course cannot and does not represent everything
I felt while I was composing it.
Poetic Moments
Poetic Moments
8 Character Pieces for
Piano Solo
Christos Tsitsaros
00296403/$7.95
This intermediate-level book con-

tains eight engaging, lyrical pieces
in Romantic style. Christos
Tsitsaros is a masterful composer, and his gift for musical-
poetic imagery is evident in each of these finely crafted
gems for piano solo. The titles come to life through expres-
sive, pianistic writing, ranging from a tender lullaby to a rol-
licking train ride. Intermediate (HLSPL Level 5+); Keys: Gm,
GM, DM, Dm, Fm, AM, GM, Cm; pieces are 3 – 5 pages in
length; intermediate-level technical skills and interpretive
imagination needed. 40 pgs.
8 Solos: Migrating Bird • Lullaby • Dance Of The Sprites •

Valse Bluesette • The Little Carousel • Butterfly Rag •
Unfinished Melody • Westbound Train.
42
Poetic Moments
Butterfly Rag
Songs Without
Christos Tsitsaros
Words
K
Light and lively (iq = q e) (q = 176) Nine Character Pieces for
 3  
                     Piano Solo
   
mf Christos Tsitsaros
        
   Intermediate (Level 5)
3
  2 
simile 5
5
00296506/$7.95
4
     
                  
3 2 1 2 3
    These elegant solos can be per-

3
formed at various levels of

       
      advancement, as their emotional content far exceeds their
3 3 2
technical demands.
7
  5 1 2 1   
5
1
                    3  
2 5 2 2 1 4 1
  9 solos: Arabesque (Autumn Storms) • Love’s Sorrow •

3
Milongo De Los Ninos • Mirage • On The Wings Of A Song •
         Scherzo (Sledding) • Searching • Sounds Of The Rain •
   
2 4 2 1 3
A Winter Fable.
10
  4  2 1       3 2 1 2

4 4
           
3
       
  
 2  
30
Songs Without Words Songs Without Words
Mirage On The Wings Of A Song

Christos Tsitsaros Christos Tsitsaros
Andante con moto (q = 100) Allegro con anima (q = 112-126)
   5 2
                        
    
5 5
          
5 5
   
1 2 1 1 3 2
    
p tranquillo p
                   
                    
 1     simile   
  
5 5
senza ped.
3
4
      3    
          
4 1 2 5 2
     
  mp cantabile
mp espressivo
          
                    
                 
     
    

5
7
   2      
 
1 3 2
 
5
   
1 1 2 5 4 1 2 1 2
    
 


     
 
p              
                            
                   
       sempre legato
 
5 4 5
    
7 3
5 3

2 5 3
            
3
  
1 1
  
10 5
  
(2) 5 5 5 5 (5) 5 (5)
  
   
1 2 1 1 1 2
        
2
           mf
         
          
                     
             5
  
1 4
    
18 22
43
EUGÉNIE ROCHEROLLE FROM THE COMPOSER

Whether composing or arranging, my music comes first
Composer, lyricist, pianist, and teacher,
and foremost from the heart, which enables me to express
EUGÉNIE ROCHEROLLE began an early
a wide range of human emotions.
career in publishing with choral and band
music. In 1978, with the success of her Advice for Teachers and Students
first piano solo collection, she soon estab- I’ve been told that a good bit of theory can be taught from
lished herself as one of the leading my music. Teachers should begin by emphasizing the struc-
American composers of piano repertoire. ture and adherence to form.
Her music is widely distributed throughout the United
The Inspiration behind Eugénie’s Music
States and abroad. A native of New Orleans, she graduated
The sheer joy of the creative process and connecting with
from Newcomb College of Tulane University with a BA in
others through my music is what inspires me the most.
music. Her junior year was spent in Paris where she had a
class with the late Nadia Boulanger. She was honored as the
1995 outstanding Newcomb alumna.
Melody Times Two
Melody Times Two Baby, It’s Cold Outside

Classic Countermelodies for from the Motion Picture NEPTUNE’S DAUGHTER
Piano Duo _ 
Moderately slow (q = 88)     =   
3
Words and Music by FRANK LOESSER
Arranged by Eugénie Rocherolle
Arranged by Eugénie Rocherolle       

4
            
 
Intermediate (Level 5) mf 

Piano I
   


 

00296360/$12.95 
With pedal
_ 
Moderately slow (q = 88)     =   
3

           
4
This collection of classic counter-       
4 3

melody songs features four ele- Piano II
mf
 
  

gant and thoroughly entertaining    

With pedal
arrangements for two pianos, four hands. Masterfully
arranged by renowned composer Eugenie Rocherolle, these
classic tunes will capture the musical imagination of stu- 4
   
  
2
4
dents young and old! The folio includes two complete        


1 3

scores for performance. Intermediate/Late-Intermediate poco rall. a tempo poco rit.
    
1
Level.       

4

4
4 Duos: Baby, It’s Cold Outside (F. Loesser) • Play A Simple  
4
   
2
 1
       
Melody (I. Berlin) • Sam’s Song (Lew Quadling/ Jacki Elliott)       
1

poco rall.
• You’re Just In Love (I. Berlin).     
1
a tempo poco rit.
      
 
4

© 1948 (Renewed) FRANK MUSIC CORP.

This arrangement © 2004 FRANK MUSIC CORP.
All Rights Reserved
44
Melody Times Two
Sam’s Song
Jerome Kern
Words by JACK ELLIOTT
Music by LEW QUADLING
Classics
_  Arranged by Eugènie Rocherolle
Arranged by Eugénie Rocherolle
 .  =   
3
Lilting (q. = 120)


    
Piano I

     00296577/$12.95
_ 
Lilting (q. = 120)  .  =   
3
  5 3
Students young and old will relish
     
1 1
   
     
     these sensitive stylings of enduring
Piano II mf
       classics. Arranged by renowned

    
  
3
1 composer Eugénie Rocherolle, this
    
3
collection is both elegant and entertaining.
10 Solos: All the Things You Are • Bill • Can’t Help Lovin’ Dat
   
4
      2   

2
 
3
    Man • I’ve Told Ev’ry Little Star • The Last Time I Saw Paris •
mf Make Believe • Ol’ Man River • Smoke Gets in Your Eyes • The
         Way You Look Tonight • Who?
           
3 4 4

4
     3
5
2
      

   
        
 pedal optional
2  
2

Copyright © 1950 by Southern Music Pub. Co. Inc. and Sam Weiss Music Inc.
Copyright Renewed
This arrangement Copyright © 2004 by Southern Music Pub. Co. Inc. and Sam Weiss Music Inc.
24
Jerome Kern Classics Jerome Kern Classics
Make Believe from SHOW BOAT

Smoke Gets In Your Eyes from ROBERTA
Words by OTTO HARBACH
Lyrics by OSCAR HAMMERSTEIN II Music by JEROME KERN
Music by JEROME KERN Moderately (q = 108) Arranged by Eugénie Rocherolle
Moderately fast (h = 66) Arranged by Eugénie Rocherolle
      
      
4
 4 
          
 
    
 
mf
2
 
1

mp
                 
      
         
5  
 
4
Slower, freely (q = 88)
 1
 
3 4 3
    
4
     
2
1
  2
      
2

      poco rit. 1
mp
     
 
  
      
     

 
        
    
   
7 5
 
3
  3
Warmly
5 
1 5
                   
7


 3      
 
2
        2

poco rit.
1
 a tempo poco cresc.

dim.
             
            

 
  
      
2
     2 1
2 1 2
   
10
 
  
10
             
               1 2

       
 

          
  poco accel.

poco rit.

          
 
   simile  3
   
Copyright © 1927 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC. Copyright © 1933 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.
Copyright Renewed Copyright Renewed
This arrangement Copyright © 2005 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC. This arrangement Copyright © 2005 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.
All Rights Reserved Used by Permission All Rights Reserved Used by Permission
22 33
COMPOSER
SHOWCASE
HAL LEONARD
STUDENT PIANO LIBRARY
Complete Product Listing

EARLY-ELEMENTARY (LEVEL 1))
Jazz Prelims/Bill Boyd 00290032 $5.95
ELEMENTARY (HLSPL LEVEL 2)

Jazz Starters I/Bill Boyd 00290425 $6.95
*You Raise Me Up: Contemporary Christian Songs
for Solo Piano /arr. Deborah Brady 00296576 $7.95
LATE ELEMENTARY (HLSPL LEVEL 3)

Coral Reef Suite/Carol Klose 00296354 $5.95
Expeditions In Style/Bruce Berr 00296526 $6.95
Imaginations In Style/Bruce Berr 00290359 $5.95
Jazz Starters II/Bill Boyd 00290434 $6.95
Jazz Starters III/Bill Boyd 00290465 $6.95
Mouse On A Mirror/Phillip Keveren 00296361 $6.95
Play The Blues!/Luann Carman 00296357 $7.95
Shifty-Eyed Blues/Phillip Keveren 00296374 $6.95
Tex-Mex Rex/Phillip Keveren 00296353 $5.95
The Toymaker’s Workshop (1P/4H)/Deborah Brady 00296513 $5.95
Traditional Carols For Two (1P/4H)/arr. Carol Klose 00296557 $6.95
EARLY INTERMEDIATE (HLSPL LEVEL 4)

Explorations In Style/Bruce Berr 00290360 $6.95
Fanciful Waltzes/Carol Klose 00296473 $7.95
Jazz Bits & Pieces/Bill Boyd 00290312 $6.95
Portraits In Style/Mona Rejino 00296507 $6.95
Think Jazz! A Jazz Piano Method/Bill Boyd 00290417 $9.95
Sounds Of Christmas Vol. 1 (Lvl. 4-5)(1P/4H)/arr. R. Byers 00296406 $6.95
Sounds Of Christmas Vol. 2 (Lvl. 4-5)(1P/4H)/arr. R. Byers 00296529 $6.95
The Twelve Days Of Christmas (Lvl 4-5)/arr. Deborah Brady 00296531 $6.95
World Gems: International Folk Songs
for Piano Ensemble/arr. Amy O’Grady 00296505 $6.95
INTERMEDIATE (HLSPL LEVEL 5)

American Impressions/Jennifer Linn 00296473 $7.95
Animal Tone Poems/Michele Evans 00296439 $6.95
Christmas Jazz/arr. Mike Springer 00296525 $6.95
Concerto For Young Pianists BK/CD (2P/4H)/Matthew Edwards 00296356 $12.95
NFMC Festival Choice
Dakota Days/Sondra Clark 00296521 $6.95
Favorite Carols For Two (1P/4H)/arr. Sondra Clark 00296530 $6.95
Jazz Delights/Bill Boyd 00240435 $6.95
Jazz Fest/Bill Boyd 00240436 $6.95
Jazz Sketches/Bill Boyd 00220001 $6.95
Jerome Kern Classics/arr.Eugénie Rocherolle 00296577 $12.95
Les Petites Impressions/Jennifer Linn 00296355 $6.95
Melody Times Two (2P/4H)/arr. Eugénie Rocherolle 00296360 $12.95
Monday’s Child/Deborah Brady 00296373 $6.95
Poetic Moments/Christos Tsitsaros 00296403 $7.95
Romp! BK/CD (Kybd. Ensemble)/Phillip Keveren 00296549 $9.95
Romp! BK/GM Disk (Kybd. Ensemble)/Phillip Keveren 00296548 $9.95
Three Odd Meters (1P/4H)/Sondra Clark 00296472 $6.95
* To be released 6/05
Songs Without Words/Christos Tsitsaros 00296506 $7.95
See your favorite music dealer to order today!

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35102 Comp Showcase Broch 2/21/05 5:07 PM Page 1

Excellent Material for:

BRUCE BERR FROM THE COMPOSER

Using mildly contemporary sounds

7 Solos: Blues for a Count • Fanfare • Fiesta March • Mountain

Expeditions in First Snowflakes

Early Intermediate (Level 3/4) 

Spanning a wide range of musical  4 

Copyright © 1994 by HAL LEONARD CORPORATION

Bruce Berr’s hallmark imaginative

9 Solos: After the Snowfall • Antarctica • Canyons • Danza

BILL BOYD FROM THE COMPOSER

Jazz Prelims Blues Parade

Early Elementary (Level 1) I

00290032/$5.95 L.H. R.H.

genius – easy-to-play pieces that give beginning performers

Copyright © 1995 by HAL LEONARD CORPORATION

Jazz Starters (I, II, III) CHILL OUT!

These three delightful collections of original jazz tunes Fast Rock

imaginatively capture the spirit and style of “real” jazz for

jazz for the elementary to late-elementary level student. 4

Jazz Starters • Elementary (Level 2)

Jazz Starters II • Late Elementary (Level 3) 2

Jazz Starters III • Late-Elementary (Level 3)

Minor Blue • Ragtime Waltz • Too Blue • Too Cool To Fool •

Jazz Starters II Jazz Starters III

Six Ate Beets TOO BLUE

5 5 Copyright © 1994 by HAL LEONARD CORPORATION

Jazz Bits and Pieces

Bill Boyd’s masterful craftsmanship

11 Solos: Chordially Yours • Easy Over • Minor a la Mode •

Jazz Bits and Pieces Jazz Bits and Pieces

Bill Boyd created this thorough,

Think Jazz! Think Jazz!

Enticing original jazz solos from

11 Solos: Blue Waltz • Satin Latin • Three For Jazz • A

Jazz Delights Jazz Delights

Bill Boyd HOME FRIED POTATOES

00220001/$6.95 Moderately = ( = 110)

Elegant, clever, authentically-

tion of jazz piano solos for the 5

8 Solos: The Bass Man Walketh • Home Fried Potatoes • Move

Copyright © 1996 by HAL LEONARD CORPORATION

Jazz Sketches Jazz Sketches

RAGTIME BLUE THE BASS MAN WALKETH

Moderate Rag = ( = 124) 4

All Quarter Notes Staccato

DEBORAH BRADY FROM THE COMPOSER

Monday’s Child Monday’s Child

Moderato (q = 108-120) Deborah Brady

Throughout, use the una corda pedal for pp passages.

our childhood? Perhaps our love of            

pianist is based on the Mother Goose poem that begins, 9

charming lyrical style, depict the various moods of each day  

Copyright © 2003 by HAL LEONARD CORPORATION

Monday’s Child Monday’s Child

Wednesday’s Child Friday’s Child

Espressivo (q = 100) Deborah Brady

           

Monday’s Child Monday’s Child

• Which measures repeat this phrase? Measure _ through _.        