early steps of romanticism jane burgess the overarching
TRANSCRIPT
10th Australasian Piano Pedagogy Conference Proceedings Jane BurgessPage 1 of 43
EARLY STEPS OF ROMANTICISM
Jane Burgess
The overarching fascination with fantasy eminent in the era of Romanticism continues topermeate and profoundly influence music beyond its time. How do children respond to thisand what does it mean for them today? As a vehicle for personal and individualcommunication, music aims to broaden all human horizons and encompass the tonality of ourexperience.1 The art of Romanticism changed for all time the individual perspective offantasy and vividly influenced human thought and emotion.
“In the mirror of tones the human heart learns to know itself; it is how we learn to feelfeelings,”2 the German Romantic Wackenroder wrote.
This paper will explore the romantic notion of fantasy, ‘the unconscious, the irrational, theworld of dreams’3 demonstrated through the emotion, imagination and individualism in aselection of music repertoire from the AMEB syllabus Preliminary to Grade 3. It willexamine the logical structure of the music and the fantasy inside the story of the music. It willdemonstrate how to relate this fantasy to a child’s own life experiences inspiring children tobecome emotionally involved in the music they play.
Romanticism
The Romantic period with its emphasis on human experience and emotional context lived out
through the imagination empowers the teacher with tools to teach.
‘Romantic music with its weakness as well as its strength is still deeply engraved in
our life today.’4
‘There is no eternity in the history of art: not only individual works die out, but also
individual periods. But the Romantic era, as a symbol of cleavage and of the will to
overcome this cleavage, is an eternal principle of art. In Romantic music of the 19th
century, this principle found it’s most illuminating, its most “eternal” realization.’5
Romanticism was a cultural movement that stressed emotion, imagination and individualism.
It was a movement that put value on fantasy, intuition, instinct and emotion.
1Kamien, R 1992, Music and Appreciation, 5th edn, MacGraw-Hill Inc, USA, p. 2922Longyear, RM 1973, Nineteenth-Century Romanticism in Music, 2nd edn, Prentice-Hall Inc, USA, p. 93Kamien, op. cit., p. 2924Einstein, op.cit., cover insert5Einstein, op. cit., p. 362
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Imagination
During this time the imagination was elevated to a position as the extreme faculty of the
mind. It was a time of self discovery and self expression where the romantics explored
extreme intensity of feelings which included flamboyance, intimacy, unpredictability,
melancholy, rapture and longing. This music reflected the illumination of the world within
rather than a mirror of the external world.
This new way of imaginative thinking brought with it fresh musical ideas resulting in new
expressive melodies, experimentation with rhythm and extended use of harmony for its tonal
colour and emotional effect.
Common themes for works included love, the beauty of nature, religious imagery and
mythology.
The spiritual link between music and imagination
Many romantic philosophers wrote about the spiritual link between music and the
imagination.
Friedrich Wilhelm Joseph von Schelling considered music to be ‘borne upon invisible, almost
spiritual wings’.6
Danish scientist Hans Christian Oersted (1777-1851) conceived music as ‘spiritually inspired
sensuousness. A Romantic feature of his philosophy is the assertion that music does not arise
from conscious reflection, but from obscure depths of consciousness’.7
Felix Mendelssohn once wrote to the effect ‘it’s not music that is too vague for words, but
rather too specific.’ He was right, and words about music will always fall short of the
experience. Music’s emotional and spiritual depth is simply beyond their domain.8
6Einstein, op. cit., p. 3407ibid.8Moore, K 2010, Nov 22 Book Review: Piano Lessons: a Memoir: by Anna Goldsworthy, viewed 26 December2010,<http://www.instantencore.com/buzz/item.aspx?FeedEntryId=115104.>
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Imagination and the emotions
Georg Wilhelm Friedrich Hegel believed that ‘music was an art of feelings and moods’. He
believed that the art of music was not merely ‘reproducing the objective aspect but the
manner and the way in which the innermost being, according to his subjective nature and
ideal soul, is moved’.9
Imagination is closely linked to our emotions. While we all have the same emotions, how we
individually respond to these emotions is different. In fact how we respond to these emotions
will also vary according to how we are feeling at the time.
Our emotions are very closely related to our own personal life experiences. As we all have
our own unique life experiences, the way we individually respond to the music will vary.
‘There are hundreds of emotions, along with their blends, variations, mutations, and
nuances. Indeed there are many more subtleties of emotion than we have words for.’10
‘The difference and variety of the tonal picture presented by various great performers
is infinite because of the differences in their personalities, just as the paint, colour and
light of great painters differ.’11
‘Music lives within us, in our brain, in our consciousness, our emotions, our
imagination; its “domicile” can be accurately established: it is our hearing. The
instrument exists without us; it is particle of the objective outside world and as such
must be studied, must be mastered and made to comply with our inner world, and
obey our creative will.’12
In the introductory remarks of Schumann’s Studies Op.3 he writes ‘After elimination of all
external difficulties, the imagination will be able to move more surely and playfully, give its
9Einstein, op. cit., p. 34010Goleman, D 2005, Emotional Intelligence, Bantam Dell, A Division of Random House, Inc, New York, p.29911Neuhaus, H 1997, The Art of Piano Playing, translated by Barrie and Jenkins Ltd, Kahn and Averill, London,p. 6812ibid, pp. 9-10
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work life and light and shadow, and complete with ease what in a freer representation might
be lacking’.13
Music as a philosophy of life
‘Music represents an important and serious part of life; it is a powerful means of
enriching the human mind and developing its ideological and moral sense.’14
Alfred Einstein a German-American musicologist and music editor believes that ‘music tells
the secret story of our will’.15 To understand music is to understand life itself with full
knowledge of its frailties, intrigue, endeavour, passion and drive. The mere sense of playing
notes fades into insignificance when juxtaposed against the art of imagination and the full
realization of the musical context that is embedded in experience, knowledge and
understanding that it becomes life itself.
To teach music is to teach philosophy and a love of life. Through imagination we aim teach
freedom of hearing, sincerity, truth and love.
However, imagination alone cannot be an end in itself. Imagination without logical structure
and foundation is ‘madness’ and logic without imagination becomes a ‘post-mortem
examination’.16 Logic and imagination must work hand in hand.
‘Freedom of hearing is based only on one thing: full understanding of what you are
doing. And only then, you’re free to create anything you like.’17
Tolstoy believed that an artist ‘should have three qualities: sincerity, sincerity and again
sincerity’.18
Neuhaus went on to say that, ‘It is much easier to say such things than to install them in
others. I have had students who tried at all costs to play in an “interesting” manner, somehow
13Einstein, A op. cit., p. 20514Kabalevsky, DB 1988, Music and Education: a composer writes about musical education, Jessica Kingsley
Publishers, London, p. 13115Einstein, op.cit., p. 34116 Goldsworthy, A 2009, Piano Lessons, Griffin Press, Australia, p. 12517Ibid, p. 18118Neuhaus, op. cit., p. 200
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“specially”, and it was very difficult to make them feel and render the simplicity and truth of
the music.’19
Wolfgang Amadeus Mozart believed that ‘neither a lofty degree of intelligence, nor
imagination, nor both together go to the making of genius. Love, love, love, that is the soul of
genius’.20
In addition, Neuhaus rightly expresses, ‘that a teacher of any instrument must first and
foremost be a teacher of music, in other words an expounder and interpreter of music’.21 In
this way we can teach both sincerity and love.
Interpreting musical markings
In playing music students are bombarded with sensory overload with all the markings and
instructions on the page. Far too often students adopt a mechanical and lifeless approach to
playing notes rather than music where playing the right notes in the right time is a means in
itself, without attempting to unlock their deeper meaning and significance, without
understanding the subtle nuances and important intricacies. So often this becomes a
superficial layer of meaningless and lifeless tones. Many teachers “tear their hair out”, so to
speak, in an attempt to overcome these obstacles in order to arrive at an end product that
satisfies the intention of the composer and the desires of the soul. There are so many
indicators of for the student to read assimilate and create. The elements of Sound, Harmony,
Melody and Rhythm all combine together in Form. When these elements all work together
harmoniously with logic and understanding the art of music making is achieved. Arriving at
this end product is the journey in which we all embark.
Csikszentmihalyi believes that ‘while there is more than one right way to pass on knowledge,
there are many wrong ways of doing it. Whenever the information is untrue, illogical,
superficial, redundant, disconnected, confusing, or – especially – dull, the chance of its
getting across to the students is diminished, and so it’s a creative response’.22 ‘So the first
19Ibid.20<http://fioramusic.tumblr.com/post/2454628600/neither-a-lofty-degree-of-intelligence-nor.>21Neuhaus. op. cit., p. 17322 Csikszentmihalyi, M 1997, Creativity: flow and the psychology and discovery of invention, Harper Collins
Publishers, New York, p. 345
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step toward a more creative life is the cultivation of curiosity and interest, that is, the
allocation to things for their own sake’.23
Sivan rightly teaches that ‘to be a pianist is a great detective job’. ‘You must have eyes that
hear, ears that see. You must not miss one detail! Not one!’24
The elements of music in relation to imagination
This paper will demonstrate the Romantic notion of imagination can be used as a means of
teaching the elements of Sound, Harmony, Melody, Rhythm and Form.
First an examination of these elements is necessary to forge the link with these elements and
the imagination. Each of these elements brings with it a logical structure that must at all cost
be maintained. As already discussed, the concept of imagination is not used as justification
for playing incorrect structure. The structure cannot be and must not be changed. The
imagination starts with the structure as a given and works to breathe life into what is given by
using the imagination through connections with personal life experiences and emotions.
In essence our life is the sum of our experiences. Our experiences are what give us meaning
and depth. We are drawing on the realities of our students through imagination, to bring the
music they play to life.
We are teaching our students to read and analyze music like reading a book. Look at the
notes; look at the markings. What information do they give us? What sound are they asking
for? The students then achieve this in performance by connecting their own life experiences
and emotions through their imaginations to their performance.
‘A performer performs a musical composition in order to express his or her personal
understanding of that composition’. ‘One of the most enjoyable aspects of truly
musical listening is listening for a special artists interpretation of a given composition.
The quality of a musical interpretation conveys the level of musical understanding –
23Csikszentmihalyi, op. cit., p. 34624Goldsworthy, op. cit., p. 39
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the musicianship – possessed by the performer involved. This is what we mean when
we say that music is a performing art’.25
In an examination of each these musical elements it becomes clear how important each one is
to the other and how closely these elements are intrinsically interlinked, often making one
inseparable from the others.
Rhythm is the ‘life blood’26 of all music. The elements of beat, meter, accent and tempo all
unite to create and form rhythm. ‘The essence of rhythm is a recurring pattern of tension and
release, of expectation and fulfillment’.27 In many ways rhythm is the glue that binds all
other elements together. Just as rhythm pervades our lives, so we find it everywhere in music
– in pitch, tone colour, and volume. How these elements change in time, and their rate of
change have to do with music.
Sivan believes that the ‘secret’ of ‘effortless’ playing is found in the ‘position’ of the hand, in
the ‘hearing’ and ‘listening to the pulse inside’.28
Neuhaus believes that ‘many rhythmic inadequacies are due, in fact to insufficient
understanding the composer’s spirit and style. Where the artistic image is not clear, this
affects the rhythmic element.’29
Further to this he expresses the use of movement through ‘simple gestures’, ‘a wave of the
hand’ or ‘conducting’ as a means of explaining the use of rhythm more clearly than words.
He calls this movement or ‘muscle work’ a ‘choreographic germ’.30
The use of movement or choreography becomes essential in the understanding of the
direction of the tone and the vitality of the rhythm. This was explored extensively by Jacques
Dalcroze in his method as it was by Stravinsky. The use of choreography can be likened to
25Elliot, DJ 1995, Music Matters: A New Philosophy of Music Education, Oxford University Press, New York,
p. 16526 Kamien, op. cit., p. 3727ibid.28Goldsworthy, op. cit., p. 10429Neuhaus, op. cit., p. 4630ibid, p. 33
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the use of inflection in speech where the same words can have different meaning determined
fully by the use of inflection.
In stressing the importance of choreography, Neuhaus even goes to great lengths to explain
his intentions by engaging the imagination of his students.
‘It happens sometimes that a hand must descend rapidly on the keyboard and rise
again, as an eagle dives for its prey, seizes it and soars away; if the hand were to fall
lifelessly like a stone, it would get a sorrowful blow, and the piano would howl with
pain.’31
Sivan believes that the ‘variety of choreography is endless’. Sometimes there will be
‘clapping’, ‘sprinkling’ or ‘dancing’. The object is not to play but to ‘dance your fantasy’.32
The use of choreography brings with it freedom of movement and relaxation. Leschetizky
and Sivan both stress the importance of movement and relaxation as a means of obtaining the
right variety of sound.
‘Music is a tonal art. It produces no visual image; it does not speak with words or
ideas. It speaks only with sounds. But it speaks just as clearly and intelligibly as do
words, ideas or visual images. Its structure is governed by rules, just as the spoken
language, the composition of a picture or the architecture of a building. The theory of
music, the study of harmony, counterpoint, and form and analysis help us discover
these rules which were created by the great composers in accordance with the nature,
history and development of mankind.33 Since music is a tonal art, the most important
task, the primary duty of any performer is to work on tone.’34
‘Tone colour is described by words like bright, dark, brilliant, mellow and rich. Like
changes in dynamic, changes in tone colour create variety and contrast.’35
31ibid, p. 13332Goldsworthy, op. cit., p. 10733Neuhaus, op. cit., p. 5434ibid.35Kamien, op. cit., pp. 5-6
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When played skillfully, the piano has the ability to create the tone colours of every instrument
in the orchestra making it the king of all instruments.
Anton Rubinstein was noted for saying, ‘You think the piano is one instrument? It is a
hundred instruments!’36
‘Compared to the sound of other instruments that are emotionally much more specific,
much more expressive, as for example the human voice, the French horn, the
trombone, the violin, the cello etc, it is a certain abstract quality of the sound of he
piano – perhaps precisely this abstract, cerebral quality – that gives it its incomparable
tone, its unquestionable individuality. It is the most intellectual of all instruments and
hence it embraces the widest horizons and encompasses boundless musical vistas.’37
‘Because the piano is, as I believe it the most intellectual instrument it is endowed
with the emotional substance of other instruments, the player’s imagination should,
indeed must, be peopled by the most expressive and specific musical images, by every
existing shade and timbre contained in the human voice and in every instrument on
earth in order to reveal fully all the wealth of the piano’s potential.’38
Neuhaus went on to say ‘that if the player has imagination’, then he can ‘express a variety of
shades of feelings’.39
Friedrich Schlegel, a romantic poet and literary critic understood the link between tone and
the imagination in this 4 lined poem:
‘Through all the tones there sounds
Throughout the colourful earth
A gentle tone, sustained
For him who secretly hears.’40
36Neuhaus, op. cit., p. 6337ibid, p. 6438ibid, p. 6439ibid, p. 11640Einstein, op. cit., p. 208
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There is a very obvious link between the production of sound and the imagination.
One aspect of Sivan’s technique is to ‘always listen to what’ the ‘sounds tell you’ after you
have played them, because the ‘sounds come back to you’. ‘It’s like poetry inside’ you. This
way you are always in ‘communication’ with the continuation of the sound. This is the ‘secret
of music’.41
‘Leschetizky was always on the search for the purest and most beautiful tone.
Leschetizky believed that a good sound is created by the brain, not by the hands.
Thus, he always emphasized deepest concentration during practice. He suggests that
one should stop after a few measures and think if one really played what one wanted.
Just if the right sound and interpretation is achieved should one go on. Leschetizky
also suggested that "listening to the inward singing of a phrase was of far more value
than playing it a dozen times. The best study could be done away from the piano”.’42
All students seem to understand the difference of opposite poles of loud and soft yet most
ignore them as if they are optional extras that have no significance or meaning. When asked
to observe them, a forte is often played as though in protest with little fingers jamming
themselves on the keys in a forced and draconian like fashion and a piano becomes a frail and
lifeless representation of missed notes, missed opportunity and a grand and some what
compulsive slowing of the tempo.
Not to mention the outer extreme of these two markings and the greater array of all those that
fit in between not to forget the crescendos and decrescendo to be thrown into the mix as well.
The issue of dynamics has been a challenge for all teachers.
‘Skillful subtle changes in dynamics add spirit and mood to performances’43
The concept of dynamics is in itself is rather abstract. On face value the word definitions
explain the differentiation of each marking which on the surface suffices. How can
moderately loud differ from moderately soft apart from the obvious connection with volume?
41Goldsworthy, op. cit., p. 5642Bohnenstengel, C 2011, Theodore Leschetizky, viewed 5 May 2011,<http://www.bohnenstengel.net/leschetizky.html>43 Kamien, op. cit., p. 5
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The issue of volume alone is not the answer to the creation of music. Dynamics need
meaning within the context of the music in which the markings are placed.
The experimentation of the depth of sound and how hard the key is pressed is part of this
difficult equation but it does not fully explain the full realm of colour it demands. Again we
find that choreography plays a key factor here.
Our job as teachers is to facilitate the connection between the music and the child’s life
experiences so that they can grasp the concepts with understanding and confidence. One such
way is to explore the range of character found in each of the dynamic levels.
When a dynamic marking takes on a character it enables the child to access that musical
information and place it within the context of his own life experiences. Only then does it
become something real that he can reach out, touch and achieve.
After all what does soft and loud really sound like. This is a very abstract concept and one
that children find hard to connect with. As already mentioned the soft will often end up not
speaking and the loud will often be forced and harsh. With a character attached to the
marking the child is focusing on the creation of a specific sound and is more likely to more
accurately connect with the meaning and direction of the marking.
Music has within itself enormous power to calm, sooth, heal. As teachers our job is to
connect students to these qualities. Once students have a taste of music’s spiritual qualities
they are free to create.
Then there is the question of melody. Essentially a melody is made up of single notes or tones
that are closely linked with the harmony. Melody is often the most easily recognized part of
the music that can be sung as a means of recognizing a piece. The phrase patterns found in
melodies give them direction. Singing a melody or playing only the melody may help the
child to understand the shape and direction that the melody is heading in and help her to
discover where the phrases fall.
On closer examination we discover that a melody has both a horizontal and a vertical
direction. The horizontal direction of the melody relates to where it is heading and moving
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forward to. This is closely linked to the phrasing and the rhythm and is directed by the
harmony. Within any phrase, pattern the performer may be required to play any manner of
different connections. A phrase may be indicated by a legato formation of notes, a detached
staccato development, a combination of both or a variety of many other articulation
markings. The vertical direction relates to how each note refers to the harmonic structure. The
relation of the rhythm to the melody is of high importance. Without the correct rhythm a
sequence of notes can be quite unrecognizable.
‘Part of the organization of music is horizontal – the relationships among the pitches
as they unfold over time; and part is vertical the effects produced when two or more
notes are emitted at the same time, giving rise to harmonic and dissonant sound. Next
in importancy to pitch and rhythm is timbre – the characteristic qualities of a tone.’ 44
The assimilation of all this information provided by the composer on the page is vital to the
final musical outcome of the performance. With so many different variables for a young
performer to absorb and portray where do we begin to teach?
One useful way in helping children to understand the direction and purpose of a melody is to
find the melodic skeleton. The skeleton refers to the bare bones of the melody. Accessing
these notes can help students to understand the direction and purpose of the melody and the
phrasing. A melodic skeleton essentially picks out the most significant notes of the melody to
play. The most significant notes from the harmony can then be added to the melodic skeleton.
From this foundation it is often useful to pulse these essential harmony notes against the
melodic skeleton to give an understanding of the underlying rhythmic direction and how it
relates both to the melody and the harmony. This technique will be explored with examples in
this paper.
The elements of harmony and form will appear throughout the paper in the musical examples.
44Gardner, H 1993, Frames of Mind: The theory of multiple intelligences, Fontana Press, UK, p. 104
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‘Our purpose is modest, and at the same time vast; it is to play our amazing, our
magnificent piano literature in such a way as to make the hearer like, to make him
love life still more, make his feelings more intense, his longings more acute and give
greater depth to his understanding.’45
In demonstrating the teaching of logical foundation and imagination through the elements of
the music, this paper will examine a range of 18 pieces from preliminarily to grade 3 from the
series 16 and 15 AMEB syllabus. These pieces were written by Romantic and Contemporary
Composers and use descriptive titles and writing styles that serve to spur the child’s
imagination.
These pieces will be explored to demonstrate how imagination is taught hand in hand with
the logical structure or the science of the music. This structure gives the boundaries and the
freedom within which imagination can be utilized. The use of imagination teaches children to
look beyond the notes on the page, to search for meaning and to find the story within the
music.
In each piece attention will be drawn to some of the elements of structure essential in
understanding the logic of these pieces when teaching them. At times the structure and the
imagination are interlinked and at other times the structure is the foundation upon which the
imagination is built upon.
Each piece tells its own story either through its descriptive title, its form or other important
markings.
Throughout the remainder of the paper suggestions will be made to spur the imagination.
These are intended as a spring board of ideas and valid approaches to these pieces.
45Neuhaus, op. cit., p. 22
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Rondo-tokkata by Kabalevsky from the AMEB Grade 3 series 15 List C
Here the title gives us vital clues to the form and character required in this piece. Rondo as
we know has a recurring “A” theme: ABACA and Toccata refers to a fast piece with
rhythmic vitality.
Section A: bars 1-15
It is this rhythmic vitality that is essentially linked to the imagination or rhythmic excitement
of this piece. Emotions of excitement, happiness, strength, or determination could be used to
describe this vitality.
The underlying pulsing of the beat is important and falls into 2 bars of 4 pulses each. Each of
these 2 bar rhythmic phrases makes up a larger phrase, bars 1- 8 being the question phrase
and bars 8-16 being the answer phrase.
The strong tonic, dominate relationships and the use of accenting in the melody demand a
sense of forward motion. In Fig 1 below the circled notes represent the melodic skeleton. By
pulsing on the circled notes, the direction or emotional pull of the melody is established. The
other notes including those notes that technically belong to the harmony, form a more
decorative function and therefore are less dominant in the function and direction of the
melody.
Fig 1 Rondo-tokkata by Kabalevsky bars 1-8
Section B: bars 16-32
The quaver on the off beat keeps the pulsing alive inside the octave crotchets. The pulsing A
is played softer, perhaps piano in comparison to the octave melody which is written piu forte.
Perhaps this inside quaver could be described as a beating drum heard far off in the distance
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or a heart beat. The tied note at the end of each phrase serves to maintain the strong pull of
moving forward.
Fig 2 Rondo-tokkata by Kabalevsky bars 16-20
Section C: bars 49-64
Rhythmically the section C is similar to that of section A. The first note of each bar forms the
melodic skeleton and guides the direction of the melody with the exception of bars 52 and bar
64 where the D# gives way to the E dominant note as a function of returning to the tonic.
Fig 3 Rondo-tokkata by Kabalevsky bars 48-52
In bar 64 the A section returns again for one last time. The vitality of the driving rhythm
remains right to the end, where the use of the crotchets and the crescendo to the ff ensure a
triumphant ending.
Andantino by Khachaturian from the AMEB series 11 Grade 3 (Extra List piece)
This piece is very contrasted to the Rondo-tokkata. It is more reflective and dreamy, however
the maintenance of the pulse in this piece is equally as important in achieving the right
character. The pulse of Andantino, has a different direction with longer more connected string
type sounds. The left hand serves as a support to the right hand with the first bar of the left
hand setting the mood.
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Notice the downward semitone pattern found in the lowest LH note C-B-Bb-A-Ab-G-Gb-F-
Eb. This progression serves to lead the direction of the left hand. Pulsing on the descending
note in isolation may help the child hear and understand this connection.
Fig 4 Andantino by Khachaturian bars 1-9
The right hand fits neatly into 2 bar phrases throughout the piece, with each 2 bar phrase
forming part of a bigger 4 bar phrase. The cantabile marking suggests that the right hand is to
sing above the supportive left hand. Singing or playing the melody part separately can help to
develop the correct breathing needed in these phrases.
From bar 18 the left hand maintains its downward semitone progression, however the
emphasis of the pulse is different. The repeated crotchet, quaver notes played by the thumb as
if like a distant drum, dynamically sit inside the minim note taking secondary importance to
it. I will refer to this differentiation of dynamics as being “inside”. For example the pulsating
C in bar 18 is inside the E, the pulsating B natural of bar 19 is inside the minim D and so on.
Fig 5 Andantino by Khachaturian bars 18-25
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In bar 25 the bold forte fragment of the opening rhythm returns before ending on the tonic
chord. The downward semitone passage is again evident in the left hand. Notice the contented
distant piano right hand echo of the left hand tonic chord in the last bar.
Fig 6 Andantino by Khachaturian bars 25-29
Marche by Prokofiev from the AMEB Grade 3 series 15 List C
This piece is a march of young children. It is not a march of toys. At first glance this piece
looks reasonably easy, however there are some technical challenges for young hands.
The first two bars serve to establish the March pulse with the left hand underpinning the
character of the march.
The harmonic logic of the left hand can be demonstrated by pulsing on the first and third beat
of every bar bars 1- 6.
Fig7 Marche by Prokofiev bars 1-4
In bar 7 the direction of the harmony changes with the downward movement beginning and
ending on C (C-B-Bb-A-D-C)
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Fig 8 Marche by Prokofiev bars 7-10
In bars 11-14 the pattern repeats in a similar fashion to bars 3-6, this time based on the key of
F.
The main harmony notes here are the F and the G flat. The C found on beats 1 and 4 of bars
11 and 13 is the dominant note and is secondary to the note on the beat. The high C found in
bars 12 and 14 requires the crossing of the left hand over the right hand. This creates the
challenge of keeping the pulse steady while crossing the hemispheres of the brain. Children
frequently struggle with this.
As a starting point to hear the harmony and keep the pulse even, the high C could be initially
substituted with the low C found in the previous bars. Once the student is confidently playing
the lower C, exchange it for the C that is written.
Fig 9 Marche by Prokofiev bars 11-14
The downward passage that we find in the left hand at bar 19 -21 and again in 19-26 is based
in the key of A major.
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Fig10 Marche by Prokofiev bars 19-22
The return of the original theme found at bar 26 finds the right hand playing an octave higher.
Some help may be required with the grace note found in front of many notes in the right
hand. It may be useful to have the child play the lower right hand note without the grace note
to establish the pulse of the right hand. The introduction the grace note with this lower note
only will help to establish the hand position required. Of course then play all the notes.
The March character can be further developed with the imaginative use of character
connected with the dynamic markings. The piano in the opening bars could be connected
with distance or secrecy, the crescendo of bar 7 through to the mf of bar 8 connected with
coming closer and the piano in bar 9 marking time. The forte in bar 27 could be associated
with confidence. Children can be encouraged to come up with their own ideas about what
each of these dynamic marking represent thus engaging them imaginatively in the music.
O, the scent of roses! arr Petr Eben from the AMEB Preliminary series 16 List C
This piece could be an emotion response to the beautiful perfume of a rose. This is an apt
representation of Romantic emotional sentiment.
It is interesting that this music sounds not unlike a hymn in character. Perhaps in this way the
composer is connecting God with the beauty of nature. This was a very common notion used
by Romantics in the arts.
In the Fig 11 below the circled notes show the skeleton of the melody. Bar 1 for example
would be played crotchet C, crotchet C, crotchet G – bar 2: crotchet E, crotchet E, crotchet C
etc. Not only will this enable children to understand the direction of the melody, it will also
help in maintaining the 3 pulse.
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Fig 11 O, the scent of Roses arr Petr Eben bars 1-4
The movement of the left hand is important in supporting the melody. This can be seen in bar
2 in the semitone movement of left hand notes G-G#. This step wise movement in the
harmony continues in bars 3-4 with F-F#-G in the left hand. Notice also the rising notes in
bars 7-8 F-G-A-Bb and in bar 10 the descending passage B-A-G. As well as serving to
support the melody, perhaps this could suggest the sense of euphoria at the beautiful scent of
the rose.
Fig 12 O, the scent of Roses arr Petr Eben bars 5-8
Bars 5-6 and bars 9-10 and bar 12 again offer this connected support from the left hand
figure. While bars 7-8 and bar 11 continue to support the melody their function is different
with no legato connection indicated. This could suggest more of a sense of space.
The final bar again returns to the connected legato movement this time supporting the gentle
rocking between the tonic and dominant 7th chords perhaps suggesting s sense of completion
and contentment.
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Fig13 O, the scent of Roses arr Petr Eben bars 9-12
A little hush song by Dunhill from the AMEB Preliminary series 16 List C
This song could be likened to a lullaby. Here with the use of 6/8 time, the rhythmic pattern of
the left hand creates a sense of movement similar to that of a small child being rocked to
sleep.
Children often have difficulty keeping the flow of a pattern where there is a common
repeated note on the weak pulse. Playing the crotchet notes only may help them to hear the
connection between the moving notes. It could be helpful to play the left and right hand in
this fashion leaving out the repeated G. The note on the off beat can then be introduced as a
pulse to help the child hear this note inside the connection of the moving note.
Fig14 A little hush-song Dunhill bars 1-6
Engage the child’s imagination by creating a character with the dynamics. For example the
piano could represent an adult is rocking a child quietly in the hopes that that child will go to
sleep. Perhaps the mf suggests that the child has other ideas and is determined to fight sleep.
The ritenuto could suggest that the child is showing signs of tiredness despite themselves and
at the a tempo of bar 13 the quiet lullaby returns.
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Fig 15 A little hush-song Dunhill bars 9-12
The poco ritard and pianissimo in bars 20-21 perhaps suggest that the child finally gives in to
sleep.
Fig16 A little hush-song Dunhill bars 19-22
Hopscotch by Lionel Salter from the AMEB Preliminary series 16 List C
In this pieces Salter uses the quaver pulse of 2/4 time to represent the quick movements of
agile feet used in the game of hopscotch.
Here the imagination is very closely tied to the rhythmic vitality which is the key to achieving
and maintaining musical interest.
The jumping backwards and forwards between the hands while maintaining a strong sense of
the pulse can present challenges for a child. Playing the hands separately and pulsing on each
of the notes may help in establishing the direction of the pulse. In the first phrase it is the left
hand that is leading; this then reverses in the second phrase with the right hand leading.
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Fig 17 Hopscotch by Lionel Salter bars 1-4
With each new phrase the leading hand changes. This can be likened to a conversation
between the hands or between the children playing the game allowing each child to have a
turn at leading. The sense of conversation between the hands is clearly seen in bars 10-13.
Fig 18 Hopscotch by Lionel Salter bars 10-13
The old Abbey by Dunhill from the AMEB Preliminary 15 List C
It is possible that some children may not know what an Abbey is and therefore an explanation
may be needed. As the word old suggests, this Abbey is perhaps in ill repair and not in its
former glory. This suggests a hint of sadness.
The long sustained sounds in the left hand are not dissimilar to the sounds of a church organ.
The peaceful legato right hand sings out above the left hand with the occasional rest where
the stretching sounds of the left hand are heard to continue. These sustained sounds could
represent peacefulness or prayer. Create a story line with the use of the dynamic changes as a
guide.
Some children struggle to effectively portray the rests found on beat 4 of some bars. It could
be useful to pulse on the melodic skeleton note (shown by the red circles in fig 19 below)
listening to the rest on beat 4 ie bar 1 G-G-G rest bar 2 D-D-D rest etc. It may then be useful
to play the left hand chord while pulsing on the melodic skeleton note. Be careful to listen to
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the chord singing while the right hand has a crotchet rest on beat 4 before introducing all the
melody notes.
Fig 19 The Old Abbey by Dunhill bars 1-4
Upryami bratishka by Kabalevsky from the AMEB Preliminary 15 List C
Children love this piece as they take delight in recognizing the stubbornness in other people!
Kabalevsky very cleverly captures the dynamics of an altercation in this piece. Here the
stubbornness of the little brother is demonstrated through the quaver crochet motive on the
Db in the left hand. The right hand is the older sibling asking the young child to do something
with the child’s constant refusal.
The dialogue between the two siblings in the first four bars could be something like this:
Sibbling 1: Will you help me pick the toys up? Please come help me pick the toys up? Will
you please come? Will you please come?
Sibbling 2: No I wont!
The fingering here is very specific and indicates the articulation of the phrasing.
Fig 20 Upryami bratishka Kabalevsky bars 1-4
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The development and variation of second phrase could suggest the reemphasis of the
question.
In bars 8-13 the length of the phrases drastically decreases suggesting the pleading of the
older sibling being reduced to the pleading, “will you please?’” with the stubborn child’s
constant refusal “No I won’t!”.
Fig 21 Upryami bratishka by Kabalevsky bars 8-13
In bars 14-17 the rise of the pitch perhaps suggests that the situation is beginning to escalate
with the stubborn child exclaiming – NO, NO NO!NO! before they come to blows on the
final sforsando chord in the last bar.
Fig 22 Upryami bratishka by Kabalevsky bars 14-20
Skipping rope by Khachaturian from the AMEB Preliminary 15 List C
In this pieces Khachaturian uses 4/4 time to capture the 1-2-3-4 pulsing of the feet that occurs
when skipping with a rope. The long note in the right hand perhaps represents the circular
motion of the rope.
In order to gain an understanding of the direction of the melody and the pulse, it may be
useful to pulse the melody. The anacrusis and the first bar would be played for example as A-
F-F-F-A etc as crotchets. In addition to this, by playing the melody as written and repeating
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the first note of the left hand as a crotchet pulse, the child may better understand the pulse in
both hands.
In bars 6, 7 and 11 there is a tied minim followed by a moving quaver passage. Children often
find it difficult to maintain the pulse through longer tied notes. In order to hear the pulse
inside this long tied note it may be useful to play this note as quaver pulse, then continue by
playing the quaver pattern as written. For example the F# minim tied to a quaver would
become 5 quaver pulses on the F# followed by the quaver notes F# -F# -F# -F# -F# -E# -F# -
D. This exercise may also help him to relax so that the quavers sound even. Alternatively, it
may also be useful to focus on relaxing the thumb while holding the tied note before playing
the quavers.
The imagination in this piece is the understanding of the pulse in connection with the action
of skipping.
Fig 23 Skipping Rope by Khachaturian
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The new flute by Hyde from AMEB Preliminary 15 List C
The beautiful flowing melodic line in this piece perhaps suggests a song of the heart
displaying the beauty of a flute melody. This piece has three distinct parts indicating Ternary
Form. The opening 8 bars are characterized by a legato flute melody accompanied by
supportive string sounds in the left hand. The left hand provides the foundation for the right
hand. In bar 4 the use of the repetition of the melody an octave higher could represent an
echo heard in the distance. The melodic phrasing is characterized by reoccurring legato
phrases ending on a staccato followed immediately by a tenuto minim.
From bar 8 the character of the left hand changes with the introduction of a drum sound in
staccato 5ths. This two bar pattern alternates between beats 2 and 3, then 2 and 4 in the
following bars. While the dynamic marking in bar 5 indicates forte, for the sake of balance
this is intended for the right hand. The staccato drums are a supportive accompaniment to the
right hand. Due to the different accompaniments found here, it is possible that this piece
could be a group of village musicians performing in the market square entertaining passersby.
The introduction of a dotted crotchet quaver rhythm from bar 9 adds a sense of more
insistence. Again in bar 10 the use of pianissimo could suggest distance. In bar 14 there is a
reminiscent return of the first three bars leading us to the final two bars played an octave
higher.
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Fig 24 The New Flute by Hyde
Poseidon’s throne by Poe from the AMEB Grade 1 series 16 List C
In order to help a child to capture the majesty of this piece, it may be useful for them to have
an understanding of the power of Poseidon a mythical god who is known as The King of the
Sea. When one considers the awesome power of a body of water such as the sea and how
helpless we as humans are against its forces one can begin to understand the awesome power
and majesty of Poseidon who has control over the sea.
This piece is in Ternary form. Bars 1-8 form the A section and bars 9-16 the B section.
At first glance this piece looks daunting with 4 lines of staff. However at a closer inspection
two distinct parts are unearthed. The first is found in the lower two staffs where the melody is
played at the octave in crotchets and minims. This occurs in both the A and B sections.
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In the upper two staffs of the A section, three chords are used. These chords are played in
both hands simultaneously an octave apart. In bars 1-2 and 5-6 the G minor chord is used; in
bars 3-4 the C minor chord and bar 7-8 the D major chord. The octave melody found in the
two lower two staves is bold, strong and continuous, demonstrating strength and power. The
chords found in the upper two staves are an accompaniment to the melody. Their role is to
support the melody not interrupt it. The minim of the melody sings on thorough the
accompaniment. The melody is strong and majestic.
Fig 25 Poseidon’s throne by Poe bars 1-8
The B section is more mysterious than the first. The interval of a 5th played in the lower
melody section echoed by seconds and thirds in the upper part could almost suggest a call
from the depths of souls lost at sea.
Fig 26 Poseidon’s throne by Poe bars 9-16
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Barcarolle by Salter from the AMEB Grade 1 series 16 List C
This boating song sung by Venetian gondoliers, is often a song of love. The 6/8 rhythm
cleverly mimics the tidal wave like motion of water against the boat both in the
accompanying LH and in the melodic skeleton, (the red circled notes shown in fig 28). This
rocking motion perhaps provides a sense of contentment, comfort and security.
The structure of the melody and harmony becomes apparent when playing the melodic
skeleton and the harmony notes found on the main beats (with the exception of bar 4 where a
C is played and bar 8 where an A is played). It may be useful to play the melodic skeleton
and pulse the harmony note to secure the direction of both the melody, the harmony and the
pulse.
This piece consists predominantly of 2 bar phrases. Bars 1-2 form the question and bars 3-4
the answer. This same idea is reflected in bars 5-6 and 7-8. Bars 9-10 and 11-12 form a
sequence. Notice that the rhythm here is different to the preceding bars. In bar 13-14 a
suggestion of the opening phrase is found with the return of the same rhythm, however there
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is no question here. Bars 15-16 continue in this confident statement before finishing on the
dominant and tonic chords in bars 17-18.
Fig 27 Barcarolle by Salter
Rhyme time by Milne from the AMEB Grade 1 series 16 List C
This piece is like a nursery rhyme, cheeky, childlike, energetic and fun. The form of this
piece is ABA coda. The A section consists of two, 4 bar phrases. The melody uses 5 notes D-
E-F-G-A. On closer examination the melodic skeleton discloses the 3 fundamental melodic
notes F-E-D. In bars 1-2 the note F dominates; in bars 3-4 E dominates; in bars5-6 F
dominates; in bar 7 E and in bar 8 D. It could be useful for the child to play these skeleton
notes using the given rhythmic pattern as a springboard for understanding the structure of the
melody. The other notes not played in the melodic skeleton, serve as decoration notes and
give the melody a relaxed almost improvised feel.
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The walking baseline found in the left has two distinct 4 bar phrases. The first phrase which
ends on the dominant suggests a question while the second phrase suggests an answer
finishing on the tonic D. This D has a dual function. It is the tonic note that completes the
second phrase of the first 8 bars, however it also becomes part of the pattern D-E-F which
leads into the modulation of G major in bar 9.
Fig 28 Rhyme time by Milne bars 1-8
The B section in the new key plays the same melody with the supplement of an additional
accompaniment note on beats 2 and 4. At bar 17 the first melodic idea returns in its original
form.
Fig 29 Rhyme time by Milne bars 9-13
Bar 23 leads into the coda with a 6 note repeated sequence before ending on the tonic D.
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Fig 30 Rhyme time by Milne bars 23-26
In Waltz Time by Shostakovich from the AMEB Grade 1 Manual C List
At first glance this piece looks incredibly simple, however many young children struggle to
understand the legato touch required. This is very much a children’s waltz. While it could be
dance by two young children, it is more likely to be a young girl in a pretty frilly dress
twirling around pretending to be dancing a waltz. The hands work together in a little
dialogue. They politely take it in turns to speak and support each other within the confines of
the dotted minim.
Each harmony typically extends over two bars and is predominately in A minor however it
moves through Bb major on the second page before returning again to A minor.
The first page consists of 2 four bar phrases and an 8 bar phrase. The melodic skeleton shown
in figure 31 may help understand the melodic direction. By pulsing on each of these notes the
inflection of each melodic phrase can be found. Understanding the gentle pulse is important
to achieving this waltz feel.
Fig 31 In Waltz Time by Shostakovich bars 1-4
Das arme Kind (The poor child) by Gurlitt from the AMEB Grade 2
series 16 List B
This intensely emotional piece, beautifully expresses a child’s grief. A sense of emotional
maturity and understanding is necessary to capture the full emotion content that is provided
here. The tempo marking, Lento e doloroso indicates – slowly and with sorrow. Several
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compositional techniques that are used in this piece, serve to create and develop this sense of
sorrow. Firstly the anacrusis at the beginning of the piece immediately provides a feeling of
delay, stretching, questioning and suspense. This is then joined by the remainder of the D
minor chord establishing the minor key. The following interval of a 6th could suggest crying
out as part of an intense 2 bar downward phrase. The 2 note phrase in bar 3 could suggest
sobbing and the step wise movement in the left hand across bars 1-2 and again 2-3 could
suggest sighing. The first phrase ending at bar 4, ends on the tonic chord D minor confirming
the sense of sorrow, hopelessness and despair.
Bars 5-6 repeat the same pattern as bars 1-2. In bars 7-8 the direction of the melody and
harmony changes ending on the relative major. This perhaps suggests a glimmer of hope.
Fig 32 Das arme Kind by Gurlitt bars 1-8
From bar 17 to the end, the ideas found in the first four bars are developed with entries found
in both the left and the right hands. The phrase ending on the relative major does not appear
at all in the second half of the piece which ends in D minor.
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Fig 33 Das arme Kind by Gurlitt bars 25-32
Petite reverie (Little daydream) by Tansman from the AMEB Grade 2 series 16 List C
This beautifully imaginative piece aptly captures the delight of a daydreamer. As most people
usually day dream about something they find pleasant, a day dream has the potential to
transport us immediately to a happy place. In our minds when day dreaming, anything is
possible and it is here that our imaginations can be expanded.
This piece in Ternary Form begins softly and tranquilly as the day dreamer considers their
dream. The use of the dotted crotchet and the quaver creates a very soothing rocking motion.
The melodic skeleton can be found on beats 1 and 3 of each bar. The harmonic direction is
found in the downward pattern of the quavers in the left hand on the second half of beats 1
and 3. A student may find it useful to play the melodic skeleton as a minim note and pulse the
left hand quaver to help show the direction of the melody and harmony.
Fig 34 Petite Reverie by Tansman bars 1-4
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In the B section bars 9-18 the harmony becomes much more dramatic and intense as if
something exciting is beginning to unfold before returning again to the more tranquil A
section.
Fig 35 Petite Reverie by Tansman bars 9-12
The left hand and the right hand work together to support each other. The underlying pulse
and the direction of the melody and the harmony all work together to capture the delightful
dreamlike mood of this piece.
Fig 36 Petite Reverie by Tansman bars 13-18
Flamenco dancer by Goldston from the AMEB Grade 2 series 16 List C
The use of rhythmic drive is vital in capturing the fiery spirit required in this piece. In the
Flamenco art form, Spanish guitar, castanets and or clapping are frequently used to provide
accompaniment for the dancer. It is likely that the rhythmic quaver figure found in this piece
represents one of those forms of accompaniment. To achieve the rhythmic vitality necessary
it may be useful to begin by playing the left hand only, making sure that the repeated A has a
sense of moving forward not just jumping up and down statically. The touch is almost an
excited light bouncing. There is no room for heaviness or “sitting” even in the forte sections.
In bars 1-15 and again at the return of the initial motive in bars 24-32 the left hand leads and
directs the right hand. Young children may enjoy tapping out his rhythm with both hands on
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the lid of the piano before trying to achieve this very active and challenging rhythm on the
piano. The repetitive rhythmic figure found in bars 1-4 forms the introduction.
Fig 37 Flamenco dancer by Goldston bars 1-4
From bar 5 the melody in the left hand begins.
Fig 38 Flamenco dancer by Goldston bars 5-12
Bars 16- 23 form the lyrical middle section, which is slower and more expressive. This
section could represent the hand of the flamenco dancer expressively telling a story.
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Fig 39 Flamenco dancer by Goldston bars 16-23
The first motive appears again at the tempo primo before accelerating into a flashy run of 6
notes working its way higher and higher before finishing on staccato chords in the last 3 bars.
Fig 40 Flamenco dancer by Goldston bars 28-33
Chastushka by Kabalevsky from the AMEB Grade 2 series 15 List C
Chastushka is a very contagious genre. It is a type of traditional Russian poetry, derived from
the word chastyi, meaning, "to speak fast." Chastushkas are notable for their particularly
vulgar character, short four-line structure, and their generally humorous or satirical nature.
The chastushka is commonly performed by two people one of which will make a statement
and the second will make a silly comment either to contradict or make fun of the first person
in jest, hence the use of the word Scherzando at the beginning of the piece.
This piece clearly shows a two part dialogue in short two bar phrases. Bars 1-2 could
represent person one making the statement, while bars 3-4 could be the second person
contradicting them. At first glance it would appear that certainly the first two bars of this
piece could not be easily sung. On closer examination we find that the bar 1 really only
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consists of the notes F-F-A-F from the subdominant chord and bar 2 C-E-G-E from the tonic
chord.
The forte used in bars 1-8 could represent a bright bubbling character however the touch
remains light and joking.
Fig 41 Chastushka by Kabalevsky bars 1-8
The middle section bars 9-16 retains this light joking touch, however the piano indicates a
change in character, perhaps that of secrecy. In bars 9 -12 and again in bars 13-16 the
direction of the harmony shifts with a downward semitone pattern of F-Eflat-D-Dflat-C.
Notice the use of some minor chords, which validate the change of mood: in bar 9 f minor,
bar 10 c minor, bar 11 D major and b diminished before returning again in bar 12 to the C
major chord.
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Fig 42 Chastushka by Kabalevsky bars 9-16
Bars 17-23 are a direct repeat of bars 1-7. The final bar while using the same notes and same
rhythm finishes on high C.
Fig 43 Chastushka by Kabalevsky bars 21-24
Summary:
In summary, imagination or fantasy is a powerful tool. It is linked very closely to our
emotions and life experiences. Teaching the logical foundation of the music with the
imagination gives children the freedom to express their inner most feelings and convey them
through the story found inside the music.
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REFERENCES
AMEB 2008 Piano series 16 preliminary grade, All Music Publishing, Australia.
AMEB 2008 Piano series 16 grade 1, All Music Publishing, Australia.
AMEB 2008 Piano series 16 grade 2, All Music Publishing, Australia.
AMEB 2002 Piano series 15 preliminary grade, Allans Publishing Pty Ltd, Australia.
AMEB 2002 Piano series 15 grade 1, Allans Publishing Pty Ltd, Australia.
AMEB 2002 Piano series 15 grade 2, Allans Publishing Pty Ltd, Australia.
AMEB 2002 Piano series 15 grade 3, Allans Publishing Pty Ltd, Australia.
AMEB 1986 Piano series 11 grade 3, Allans Publishing Pty Ltd, Australia.
Bohnenstengel, C 2011, Theodore Leschetizky, viewed 5 May 2011,
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Einstein, A 1947, Music in the Romantic Era: A history of Musical thought in the 19th
Century, WW Norton & Company Inc, USA.
Csikszentmihalyi, M 1997, Creativity: flow and the psychology and discovery of invention,
Harper Collins Publishers, New York.
Elliot, DJ 1995, Music Matters: A New Philosophy of Music Education, Oxford University
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Gardner, H 1993, Frames of Mind: The theory of multiple intelligences, Fontana Press, UK.
Goldsworthy, A 2009, Piano Lessons, Griffin Press, Australia.
Goleman, D 2005, Emotional Intelligence, Bantam Dell, A Division of Random House Inc,
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Longyear, RM 1973, Nineteenth-Century Romanticism in Music, 2nd edn, Prentice-Hall Inc,
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Kabalevsky, DB 1988, Music and Education: a composer writes about musical education,
Jessica Kingsley Publishers, London.
Kamien, R 1992, Music an Appreciation, 5th edn, MacGraw-Hill, Inc, USA.
Moore, K 2010, Nov 22 Book Review: Piano Lessons: a Memoir: by Anna Goldsworthy,
viewed 26 December 2010,
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<http://www.instantencore.com/buzz/item.aspx?FeedEntryId=115104.>
Neuhaus, H 1997, The Art of Piano Playing; translated by Barrie and Jenkins Ltd, Kahn and
Averill, London.
Shostakovich, D Six Children’s Pieces, Boosey and Hawkes Music Publishers Ltd, UK.
10th Australasian Piano Pedagogy Conference Proceedings Jane BurgessPage 43 of 43
About the Author:Jane Burgess has over 20 years experience teaching the piano. She currently teaches atBrighton Special Interest Music Centre, Scotch College, Unley High School and in her ownprivate studio. She regularly prepares students for concerts, competitions, AMEB exams andYear 12 Solo performance achieving high results.
For many years she refined her piano perspective with Eleonora Sivan and she continues tohave professional contact with her.
Jane was invited and presented a lecture demonstration at the SA Music Teachers’Association 2011 and 2009 Biennial Conference, the 9th Australasian Pedagogy Conferencein Sydney in 2009 and at WA Piano Pedagogy Convention in April 2010. In 2010 Jane wasappointed the convenor of the Adelaide Eisteddfod Piano Division and Examiner for AMEB.Along with six other dedicatees she performed in the World Premier of Larry Sitsky’s TheGolden Dawn at the University of Adelaide in November 2010.