Monthly Archives: November 2015

Classics for Students: Bach, Mozart & Beethoven

By Jane Magrath

Book-1-CoverThe Bach, Mozart & Beethoven books in three progressive levels make up the first volumes in the new Classics for Students series.  They are designed to encourage students to bring new life to the music, as well as to provide core literature by the most important Baroque and Classical masters in one book. The selections are at the center of the standard repertoire at these levels, and the book format provides aids to help connect students with the composer.  Each volume includes spacious editions of the pieces, inviting composer biographies, and study guides that focus on three key teaching points for each piece.

Mozart-bio-1The Composer Biographies are divided into two parts. For example, the first section of the biography for Mozart in Book 1 provides a basic overview of his life and works.  In the second section, his life as a Child Prodigy and the difficulties related to this are discussed. This section explores how Leopold Mozart booked engagements haphazardly for Wolfgang.  He relied on word of mouth for concert promotion. Once, when the family was temporarily stranded in London, the children performed in a tavern to earn enough money to continue travelling.

Mozart-bio-2In Book 2 the same core overview of Mozart’s life is provided in the first half while the second section goes into detail about the Dueling Pianofortes in Mozart’s competition with Clementi. The discussion reviews the various stages of the contest, what they played, and how Mozart and Clementi were asked to sight-read and improvise in the competition.

 

The About the Music section provides three key points for students to consider when studying each piece.  For example, for the Mozart Minuet in F Major, K. 15oo in Book 1, the key points provide a concise and clear introduction to the piece.About-the-music

Students should play the melody with a light sound and slight emphaMinuet-F-Major-15oosis on first beat of each measure.  I often ask students to circle the two-note slurs throughout (11 in this one-page piece).  Writing in small diminuendo signs beneath each slur reminds the student to taper the slurs. Students can also locate the upbeats that seem to pull over the bar line toward downbeats of the next measure.  In these examples (marked with arrows), two eighth notes pull to the quarter note on beat one, helping to bring the music to life.

Bach-Polonaise-in-G-Minor-BWV-125With the Polonaise in G Minor, BWV 125 from the Notebook for Anna Magdalena in Book 2, students may want to listen to a recording and then divide it into practice sections. I have marked suggested practice sections with brackets. I like to help students discover the surprises (sudden stops on quarter notes) at the ends of the main motives (two sixteenth notes and an eighth note). These unpredictable surprise endings appear at the end of the declamatory gesture each time it appears (mm. 1, 2, 5, 6, 9, 10, 21, 22). For variety, I usually suggest that the sections beginning at measure 13 and measure 17 be played lighter.

Mozart-Viennese-Sonatina-No-1Some of Mozart’s most attractive writing for students appears in the Viennese Sonatinas that were originally composed as Wind Divertimenti, K. 439b for two bass horns and bassoon. They have become standards in the piano repertoire in these arranged versions.  Pianists can imagine the different sections of the orchestra playing different phrases, alternating in dialogue.  This can expand students’ abilities to “orchestrate” at the keyboard by studying the varying textures (thick and thin) within the examples.  The performer also learns to work with thick versus thin textures in voicing and inflecting the phrases. Both Books 2 and 3 contain a Viennese Sonatina.

A Suggested Order of Study is included in each book as a guideline for teachers. While most students will not study every piece in every book, these guides can aid teachers with repertoire selection. The Suggested Order of Study for each of the three volumes is included below.

Book 1:
Wynn-Anne Rossi

 

 

 

 

Book 2:
Book 2

 

 

 

 

Book 3:
Book 3

 

 

 

 

I hope teachers will enjoy working with students on these pieces and that the information in the books with help student find fresh and creative ways to bring them alive.

Pick Your Side in the Star Wars® Saga

Pam Phillips
It’s coming and the excitement is building. The epic Star Wars story has proven to intrigue all generations. Alfred Music has many settings of this great music that are performed many times every year. In honor of the new movie, a new arrangement titled “Star Wars Heroes” (string orchestra, grade 2½) was just released in January. However, if you are looking for something to work on after the holiday concert/recital, when everyone is a bit excited about the upcoming vacation, try out the classic Star Wars arrangements listed here for everyone from soloists to full orchestra.

There are play-along books perfect for private lesson fun or gifts!

Star Wars: Episodes I, II & III Instrumental Solos for Strings

Star Wars Instrumental Solos (Movies I-VI) for Strings
Classic Movie Instrumental Solos for Strings

For young players, the books titled Pop Showcase for Strings include a very easy setting of “Star Wars (Main Theme)” set for flexible instrumentation for solos players, small ensembles, and string orchestra.

And, last but not least, check out these arrangements.
Star Wars Main Theme—Full orchestra, Grade 3½
Star Wars Main Theme—String orchestra, Grade 2½
Battle of the Heroes—Playable by strings alone or any combination up to full orchestra, Grade 2½
Suite from the Star Wars Epic Part I—Full orchestra, Grade 4
Suite from the Star Wars Epic Part II—Full orchestra, Grade 4

Good luck this season, and may the force be with you!

Pam Phillips
Managing Editor, Suzuki Acquisitions and Strings Editor
Alfred Music