The repertoire list usually includes titles that are new to the teachers, and this encourages them to broaden Without the scales, sight-reading and questions.Ĥ.
The performance situation at the Federation Festival is remarkably like college auditions and boards, but Often a student will get a message from a judge which is something their private teacher has been saying allģ. An upcoming performance provides great incentive for increased practice.Ģ. Why participate in Federation and what are the benefits?ġ. Notice the emphasis in these ratings accentuates the positive. “Superior” does not connote “amazing technical virtuosity” as much as it means that the performance was accurate in terms of notes, rhythms and style – in short, that the student has mastered the music well when considering the student’s age and the difficulty of the pieces. Students do not compete against each other rather they are judged on a five tiered scale, with the following ratings: Through the years of accumulating these points, they will earn a gold cup (trophy). The students will then perform both of their pieces for 3 judges who are very nice teachers like myself, who then will give them positive written evaluations/comments along with a score/points. One piece is called a required piece and the other is a choice piece. This is a brief description of what students do for the Piano Solo Festival: However, the judging requirements and numerical ratings are the same. These are terrific opportunities for those students bursting at the seams with creativity and enjoy receiving evaluations and even prizes for their original work.There are different requirements/rules for each different event. Jazz Sonatina by Robert Vandall in Favorite Contest Winners Belwin Book 4 (MD2)įYI Links to creative events and competitions I let students listen to all of the options from the appropriate level and these are their choices.Ī Mingus Among Us by Eric Baumgartner (P4) Repertoire from the National Federation of Music Clubs July 2020-June 2024 Bulletin This is an “exotic” and rarely-played piece from the Romantic period.Ĭatch my interview with Wendy Stevens at Key Ideas episode #28. My Laughing Chimpanzee, Bean Bag Zoo Book 1Ī Song From The East Op.54 No.2* The Romantic Spirit Book 1 To learn more about Lynda listen to Key Ideas Podcast episodes 33-34īelieve, Extreme Measures Easy Perfect PatternsĪwakening, Stealth Mode Let’s Quest Volume 2 This book includes accessible and wonderful arrangements of “West Side Story” tunes. Learn more about Dennis Alexander and his prolific career in Key Ideas episodes 36-38. Pope’s Rebellion New Mexico Land of Enchantment Glacier Majesty, Toccata Brillante The Best of Dennis Alexander Book 2 I predict that every piece in this book will be a keeper. Pieces marked with an asterisk (*) are newly discovered. If you’re interested in following the same route that I’ve taken with my students, here’s a list of what to use.
Naming music elements and exploring them within a favorite piece is a safe way to slide improvisation into lessons without pushing pianists out of their comfort zone. For example–I may ask a pianist to modify the melody of a piece by adding repeated notes. This resource challenges players to modify one element at a time. As a lesson opener, I’m highlighting one musical element each week based on my music element infographic and then we relate that element to their repertoire.Īll of this is in preparation for the next season of lessons coming in March where pianists will choose one of their favorite pieces and change it up with Improvisation 88 or I-88 for short. I’m tracking their progress in technique with a winter sports digital badge board.
In addition, we are focusing on technique and theory. In this current season of lessons (February 2022), repertoire has been the focus of my lessons as many students are preparing for a local National Federation of Music Clubs Festival. I’m figuring that if I’m curious about what repertoire works with other teachers’ students, you may be curious about mine, too.Īnd so…here’s a list of the repertoire I’m currently teaching in my studio that are student pleasers or what I call “keepers” and ones to repeat year after year. Finding repertoire that suits the personality and preferences of students is KEY to keeping them on the bench.
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