Teaching the Very Young

By Lois Benson
Ages 4 - 5 - 6 - 7

I find teaching young students exciting and very rewarding. Preschoolers take to music study naturally and to piano in particular. I have successfully taught this age group for many years and had the privilege of teaching my daughter, son and three grandchildren. Very young children are usually enthusiastic, exuberant and eager to learn. They are fascinated by the piano keyboard and intrigued by the wonderful sounds that can be made.

Their minds are fresh and alert. They absorb like a sponge. At this age they are loving and respectful and so thrilled by what they learn that often they bring pictures they have drawn of the piano, notes and jelly beans! The young child is more capable of learning and more susceptible to learning than he or she will ever be again. The more learning experiences that occur in these years, the greater the learning potential. It seems it is never too early to begin playing the piano. Beethoven, Mozart and Rachmaninoff all started when they were four; Bartok, Brahms and Haydn when they were five; Chopin, Liszt and Schumann got off to a late start, they were were all of six. There is a great difference in attention span, musical aptitude, attitude, degree of maturity, physical development, and muscular coordination of eyes and fingers at this age. Young children have a wide variety of learning rates and amount of retention. Both teacher and parent should be aware of this.

ADVANTAGES

Piano lessons can make the child's all-around educational development much greater and improve their chances for security, confidence and happiness. At school, if the child is the only one in the class who can play the piano, the attention from other classmates can be positive and encouraging. Modern educators have learned that students who play the piano are usually better students because of the mental training they have received from their music studies. Usually piano students get better grades in all their courses.

The piano is an ideal instrument for teaching preschoolers in music, because by "merely" pressing a key a sound is produced. You don't have to hold an instrument or form an embouchure (lip position) to produce a tone. By developing a good touch, you can hear the tone and feel how it's produced.

Music study at an early age develops non-musical attributes such as discipline, motor skills, coordination and concentration which are useful in all areas of life. No other subject taught in school can compare with piano lessons simply because no other study teaches a child so many different skills and abilities, while at the same time giving him so many rewards and returns for his efforts. Teaching music properly and creatively can add much joy, inspiration and direction in each student's life.

TEACHER'S RESPONSIBILITIES

Our responsibility as teachers is to give the student assignments he can understand and goals he can achieve with a degree of success. He should "make music", however simple from the very first lesson. Attainable goals for a young pupil's first experience at the piano are:

1. Develop a normal, comfortable hand position, with fingers over the keys ready to play.
2. Develop confident reading in a limited area of the keyboard -- using a combination of note reading and rote.
3. Singing or saying the words.
4. Naming the notes, playing and naming notes.
5. Acquire a "listening ear", conscious of different qualities of sound -- mellow, harsh, loud, soft etc.
6. For the teacher, the most important goal is to bring to the pupil the PLEASURE OF MUSIC from the first lesson -- through suggestion, demonstration and performance, thus creating a desire to learn more, play more and play better. Short practice periods of ten to fifteen minutes twice a day are suggested for the youngest pupils. Parental supervision is desirable, especially during the first months of study -- a parent should come to the lesson and observe how the material is presented by the teacher.

From the beginning of the child's piano study provide material of musical value which will serve as a basis for his musical development. Give a selection of pieces of real musical interest so carefully graded, both musically and technically, that the child is stimulated but not overtaxed.

Before planning the technical curriculum of a young child, during early years of study, the teacher must thoroughly understand the physical limitations of children so far as their hand is concerned. Realizing a small child's normal hand span could be less than five keys, care should be taken that they not go beyond five-finger position too soon. Expansion into sixths and sevenths should be taught only when the hand can comfortably reach them. Two-note harmony in each hand should be used until the student can physically do triads in root position. Heavy dynamics should be avoided until the fingers have developed a certain degree of strength and control in the fingertips and knuckles. Giving students material that is too demanding (both in hand span and heavy dynamics) can result in tendonitis and carpal tunnel syndrome.

Teaching young children of this age requires a great deal of patience by the teacher and a love for young children. Their very short attention span requires the teacher to change quickly from playing pieces, to using flash cards, naming notes in the piece to perhaps marching to quarter notes as the teacher plays. The young student should have a box to rest the feet on. Dangling legs can be very tiring. The student can stand while naming notes, #'s and b's etc. on flash cards. In SMC153898 Theory Workbook Primer Level by W. Schaum, if the student cannot write the answers the parent can discuss the material with the student and write in the answers for him.

They may forget partially or completely from lesson to lesson. Review and much repetition must be done as well as adding a small amount of new material each lesson! They will gradually develop the ability to remember through review, repetition and praise from the teacher and the parent. They usually need to be kept at each level longer than older children. Introduction of sheet music using the concepts they have learned in the Primer books keeps the lessons interesting and exciting. Practice of ten or fifteen minutes once or twice a day under adult supervision will present good results.

Some Basic Criteria for Evaluation of New Piano Music

1. Attractiveness
2. Purpose (study/recital)
3. Pianistic (does it lie well under the hands)
4. Length (two-page solos which can be learned in three to five lessons)
5. Is it compatible to the young child's mental and physical capabilities?

CONCENTRATION, ANALYSIS AND MEMORY

Other fundamentals being developed besides coordination and speed are the ability to concentrate, to analyze, and to remember. Playing the piano is unusual in that it is a complex process; and yet for the beginner it can be presented in such a way that even very young children can master the fundamentals, and enjoy doing it. This requires concentration, and the more advanced the pupil becomes, the more he must concentrate in order to have the speed and coordination mentioned earlier.

With increasing ability to play, there is also a correspondingly ability to analyze. Piano playing is something like reading a foreign language (one made up of notes, bars, measures etc.) and then immediately translating these signs into an intricate pattern of action -- the playing of the proper keys. This whole process requires a trigger -- like analysis of what is being read and what specific movements must be made in response. Once again a fundamental principle of learning is stimulated and developed when a child takes piano lessons.

Finally, the ability to remember is constantly being trained as the months and years roll by. A greater and greater fund of knowledge is stored up, and the piano student learns how to remember what he has learned and how to recall it when necessary. What could be better memory training than this? These educational features are very important.

Piano training involves a far greater amount of coordination than any other subject. Think of the facilities involved; eyes, ears, fingers, arms and feet -- all must be synchronized to achieve a harmonious pattern. Even the youngest beginner can soon make remarkable progress in this feat of coordination. Yet no matter how skilled the student may become, there are always new and rewarding areas to conquer, which encourage more and better coordination.

Now coordination is not something that applies only to piano; it is a fundamental principle, applicable in learning how to walk, to write, to sing, to talk, or to think. A surgeon, airplane pilot or athlete must have a great deal of coordination. There is coordination in all forms of action and thinking -- the relating of hundreds of isolated bits of knowledge into a new unit of thought. Thus if taking piano lessons did nothing except develop and improve the student's coordination, and to train him instinctively to translate into action, it would be worth the time and money invested. Actually, however, studying the piano does far more

The factor of speed is a fundamental principle of learning and quickness of mental process. Learning to play the piano develops the ability to think and act quickly. When a young child plays a simple composition, it has been proven that up to sixty distinct and separate mental operations are required in one second. It is unlikely that any other form of human activity can match this emphasis upon quickness and the effect it has upon the training of the mind -- yet piano lessons quickly and easily develop that ability and yield real pleasure at the same time!

The teacher should enhance the pupil's study with supplemental material to strengthen and reinforce concepts already covered. This material provides a variety for the student and the teacher. The variety that is available for additional reading is extensive: folk tunes, hymns, pop songs, Christmas music etc. It should include educational and "recreational" music. A young student's study can have a proper foundation which includes: repertoire (I use sheet music), theory, technic and supplementary reading. This will teach the essential beginning concepts.

Note: After approximately four months' study, the student may be ready to use a technic book. Before this time the emphasis has been on watching the music without looking at the hands. The notation of the technic book should be simple enough so the student can observe correct hand position, finger action etc.

In performance, have the pupils strive to develop his tone for quality rather than loudness. This means constant listening on the part of the player and bears out the theory once proclaimed by a certain teacher to the effect that "a piano tone after all, is made with the ear rather than with the finger".

Note: Can progress slower or faster than these Lesson Plans, depending on the age of the student and their comprehension.

MATERIALS USED

SMC#416035 Pre A (Green Book) Revised by Wesley Schaum John Schaum Warner Bros.
44 pages Middle C approach. $5.95.

SMC#194710 Teaching Little Fingers to Play Thompson Willis
40 pages Middle C approach. $4.95.

SMC#325891 Flash Cards Set #1 John Schaum Schaum Pub.
34 perforated cards, size 2-1/4 x 2-3/4 inches. Contains all notes in treble and bass clefs, two octaves above and below middle C, including twelve on leger lines. $2.25.

SMC#153898 Theory Workbook Primer Level W. Schaum Schaum Pub.
35 lessons. This workbook presents basic music theory. Emphasis is placed on two basic note reading concepts.

1. Correlation of up and down on the keyboard with the up and down movement of notes on the staff.
2. Simple interval reading and recognition on the staff. The musical alphabet is used as the basis for notereading because it is easily recognized by a young child. Line/space numbers and slogans are purposely avoided as a note reading crutch. $4.95.

FIRST LESSON

The student should be seated in the center of the piano bench facing the middle of the keyboard (in front of the name of the piano). The Student should not be too close to the keyboard; the knees should be barely under the keyboard. Sit tall with a straight back. Wrists and forearms even with the white keys. Hands should be curved as if student is holding a ball. Fleshy part of fingertips should rest in the center of the white keys. Feet flat on the floor. Use a stool or box if necessary. The student should be relaxed (check that shoulders are not raised). All of the above permit freedom of arm, leg and body movement. Efficiency of movement and conservation of physical energy will help the student to develop control, dexterity and endurance and be less tiring.

Pre-A Schaum SMC#416035 (new, revised by W. Schaum) Warner
Begin on page 6, omit page 7 (do later). Do p. 8. I omit writing letter names on the diagrams. I teach this in the Theory Workbook. (Can do this at a future lesson as a review.) Teach which way is up (the tones are higher) and which way is down (the tones are lower). Omit p. 9. Do p. 10. There are 5 lines and 4 spaces which form a staff. The two combined are a grandstaff. The treble clef is from the center of the keyboard up. Treble clef is the high part of the keyboard (emphasize it does not mean RH). Most of the time it is played with the RH. Bass clef is the low part of keyboard (usually played with LH). Demonstrate up and down on the keyboard. The vertical lines are bars and from one bar to the next bar is a measure. It has a double bar at the end. I omit notes and time values on this page. Omit page 11. Note: Do pages 12 & 13, omit the preparatory drills. I have the student practice the piece three ways: 1- say the letter names as they play, 2- sing the words while they play, and 3- say letter names as they point to each note. Show student that the black keys are in groups of twos and threes up and down the keyboard. The rhyme "Hi Dum Diddle, D's in the middle" can be used to identify D, C is to the left and E to the right. The black notes are slow (walking), the white ones are held and we have a big one (like a circle) which is longer. I do not have students counting aloud for many lessons. I feel the correct note, correct fingering, a good hand position, legato playing and singing tone are enough to ask of a young beginning student. I don't want them hearing their own voice. I want them to hear what comes out of the instrument. Explain to them that anyone listening to them play only hears the sound produced and they do not see the printed page. I do want them to know there is a difference between the time values. When the student reads quite well from octave C in the bass to octave C in the treble and is playing level one music (possibly six to nine months), I play primer duets or at a second piano and we work on rhythm counting aloud and then counting "in our head".

I use SMC#157612 Folk Songs and Dances Primer - (Schaum, Schaum Publications Inc. $5.50) to teach this. I start with song #3, then 2, 4, 5, 7, 11, 9, 10, 13 and 15. I omit the songs with the dotted quarter note. Note: I write the measure numbers in small numbers with pen.

Flash cards -- I assign five cards. Middle C, two notes above and two below. I put these in a separate envelope.
Theory Workbook Primer - W. Schaum- Lessons one, two and possibly three. Encourage students to use pencil and do them neatly.
Teaching Little Fingers Omit pages 1-4. Do page 5, omit stepping & skipping and (1), (2), (3) & (4). Omit pages 6 & 7. Do page 8, omit strong & weak beat. Do page 9.

SECOND LESSON

Flash cards -- Concentrate on the five flash cards.
Theory Workbook -- Lessons four and five.
Pre-A Schaum Do page 14, omit preparatory drill. Omit page 15 -- can teach it later.
Page 16, omit preparatory drill. Page 17- I usually write 3 vertical lines up by the keyboard picture and print F to left, B to right of the three black keys. Have student find F's up and down the keyboard, then B's. Play G and A solid with 2nd and 3rd fingers up and down the keyboard. It usually takes the student longer to learn this grouping than the names of the white keys of the two black key grouping. This may have to be repeated for several lessons, as they should be able to find any of these white keys easily without thinking backward from middle C.
Teaching Little Fingers to Play Do Pages 10 & 11. Omit explanation of dotted half note. I explain only that the dot makes the note longer.

THIRD LESSON

Flash cards - Add bass G and treble F.
Theory Workbook -- Lesson six.
Pre-A Schaum Page 18, omit preparatory drill. P. 19 omit natural accents. Point out that we are not always going to start on middle C. Repeat information on names of the white keys that are with the three black keys. Do page 7.
Teaching Little Fingers to Play Do page 12. Omit p. 13 (there are too many skips - can do this later). P. 14 - I explain what a slur is and point out it is like reading aloud - you take a breath. You lift the wrist forward and make a slight break between the slurs. I usually write a sixteenth rest to show the breath. I explain the slur means to play legato and that we always play legato unless it is marked otherwise.

FOURTH LESSON

Flash Cards - Nine flash cards.
Theory Workbook Lessons seven and eight. Note: Don't write RH and LH in for the clefs. Use Treble and Bass.
Pre-A Schaum
Page 20- omit drill. Point out that in going from middle C to the first line (line to line) a space note is skipped, a key is skipped, and a finger is skipped. I also explains it is a third - there are three letter names. (Explain what an interval is when the subject comes up in the Theory Workbook, Lesson 13).
Teaching Little Fingers
Page 15 - Watch the phrasing. (Explain it is musical punctuation). Note: the bass note G is played with the second finger. I have previously explained there are 88 keys on the keyboard but we have only 10 fingers. I make a joke of I'm glad we don't have 88 fingers as I couldn't watch all of them. (I sit next to them on the piano bench). Emphasize thinking the letter name first then the finger number. Page 16 - if you wish - or omit if it's not the holiday season. I use
Christmas Primer SMC#161992 - W. Schaum - Schaum Pub. $4.95
Fifteen familiar Christmas Carols in five finger position. Large notes and a minimum of finger numbers are used. Oblong format (which brings the music closer to the eye - level of the child) helps make music reading easier. A student with just six to eight weeks study will be able to start working on this album.
Page 17 - I omit the rest box. Explain that rests mean SILENCE. Page 18 explains LH crosses over to octave C in the treble clef. Explain what an interval is. I use p. 15 in Pre-A Schaum to explain that octave means eight.

FIFTH LESSON

Basic Flash Cards - Add octave C in the treble clef.
Theory Workbook - lessons nine and ten.
Pre-A Schaum Omit p. 21. Instead I teach page 20 in Teaching Little Fingers. Page 22- Point out we have rests and they mean SILENCE. Just let the key up so there is no sound but don't lose the key. P 23 - Watch phrasing. Omit whole rest explaination.
Teaching Little Fingers to Play Page 19, 20 - black notes (quarter notes) are slow or walking, notes with bar (eighth notes) are smooth.

SIXTH LESSON

Flash Cards - Add second line G and octave C in the treble.
Theory Workbook -- lesson eleven and twelve.
Pre-A Schaum
P. 24 review LH crossing over to octave C in the treble clef. Page 25 - I omit explaining starting on 4th count and introducing eighth note. The black notes (quarter notes) are slow and the ones with a beam (eighth notes) are smooth. Page 26 explain the C is octave C in the bass clef.
Teaching Little Fingers to Play
Page 21, 22- explain there are seven letters in the musical alphabet but there are only five different black keys, so it is possible to have white key sharps. A sharp (#) is a half step up, which is the next key to the right. Point out a whole step skips a key--black or white.

SEVENTH LESSON

Flash Cards - Add octave C in the bass. Review.
Theory Workbook Lesson thirteen. I use the explanation that an interval is the distance between two tones.
Pre-A Schaum
Page 27 - Cross out box explanation of a #.
Page 28- explain key signature. Point out 1 # is always F# and the key signature affects the entire keyboard. I do not teach scales at this point.
Teaching Little Fingers to Play
Page 23 - Cross out played on black key F. Page 24 point out key signature; write 1# is F#.

EIGHTH LESSON

Flash Cards Review
Theory Workbook - lesson fourteen.
Pre-A Schaum
Page 29 - Explain D in the LH is the same as the key they have been playing with the RH and that there are several keys in the center of the keyboard that can be written in Bass or Treble Clef. Page 30. Explain playing both hands together.
Teaching Little Fingers to Play
Page 25- Point out starting on the octave C's and moving stepwise by second up and down the keyboard. I omit page 26 (can teach it later).

NINTH LESSON

Flash Cards Review
Theory Workbook - lesson fifteen.
Pre-A Schaum Page 31 - Explain ties. Page 32 - Point out both hands together. Black notes are slow, the ones with the bar are smooth, the white one is held and the circle is a big one. I teach actual time values later.
Teaching Little Fingers to Play Page 27.

TENTH LESSON

Flash Cards - Add D and E in the bass.
Theory Workbook - lesson sixteen. I omit lessons seventeen and eighteen depending on the age of the student. I prefer to teach this later or in piano solos. Then do lessons nineteen and twenty.
Pre-A Schaum Page 33.
Teaching Little Fingers to Play Page 28 - watch phrasing and the two hands together.

ELEVENTH LESSON

Flash Cards Review
Theory Workbook Lessons nineteen and twenty.
Pre-A Schaum Page 34
Teaching Little Fingers to Play Page 29 (delete reference to black key). Explain sharps, flats and naturals are accidentals. The sharp is a half step up, the flat a half step down and the natural means no sharp or flat.

TWELFTH LESSON

Flash Cards Review
Theory Workbook Lessons twenty-one and twenty-two.
Pre-A Schaum Can omit P. 35 and teach later if desired. P. 36 delete b is a black key. Explain an accidental affects only the same notes in that measure, not the octaves above or below. A key signature affects the entire keyboard.
Teaching Little Fingers to Play Omit pages 30 and 31. I think it is too difficult for this age. Do page 32.

THIRTEENTH LESSON

Flash Cards Octave C in the bass to octave C in the treble.
Theory Workbook I omit lessons twenty-three and twenty-four depending on age of student. I prefer to teach this later in a piano solo. Lesson twenty-five. I teach sharps are a half step up, flats are a half step down. Sometimes they are white keys but usually they are black keys.
Pre-A Schaum Page 37 - explain key signature again.
Teaching Little Fingers to Play Do page 33. Delete A sharp is a black key.

FOURTEENTH LESSON

Flash Cards Review
Theory Workbook Omit Lessons twenty-six, twenty-seven and twenty-eight can teach in a piano solo.
Pre-A Schaum Omit page 38 - can teach later. Do page 39 - use Preparatory Note.
Teaching Little Fingers to Play Do page 34 - I omit weak beat explanation. I will teach this later in a piano solo. I am emphasizing correct notes, fingering, legato, phrasing, tone and hand position.

FIFTEENTH LESSON

Flash Cards Review
Theory Workbook Lesson twenty-nine, omit lesson 30.
Pre-A Schaum Page 41 - I often teach this sooner - as the students all think it's fun. I explain we have two basic touches, legato and staccato. Legato means to connect and staccato to separate (not play faster). It is like a note with a rest in between. Discuss minor explanation. Page 42 - I cross out middle C 8va and write the note octave C in as I think that's better.
Teaching Little Fingers to Play Do page 35 - explain 8 _ _ _ _ _. Omit 36 & 37 - can teach later. Do page 38. Have student cross hands nicely, making an arc.

SIXTEENTH LESSON

Flash Cards Review
Theory Workbook Lesson thirty-one.
Pre-A Schaum Page 43 - explain accent and preparatory note. I have student put the LH thumb on F#; I think it's more comfortable.
Teaching Little Fingers to Play Page 39 - explain LH solid 5th. Position the RH fingers over the keys to be played. Position LH fingers over the keys to be played. Point out that the hands don't move, only the fingers do.

SEVENTEENTH LESSON

Flash Cards Review
Theory Workbook Lesson thirty-two - I omit lessons thirty-three and thirty. I prefer to teach this in a piece. Do lesson thirty-five. This lesson could be done sooner.
Pre-A Schaum Page 44 - could do pieces previously omitted if so desired.
Teaching Little Fingers to Play Could do pieces previously omitted if so desired.When Pre-A Schaum and Teaching Little Fingers are completed, I use Piano Recital Solos Primer Level SMC#136366 - Jane Bastien, Kjos, $3.45. I spend one or two lessons on each solo. I use these as a review and to reinforce the concepts we have been learning. I often have the student do it "on their own" - no help from me or the parent. The weaknesses of the student will show up. I usually give the boys, First Pops for Piano SMC#136153- Jane Bastien, Kjos, $3.95.

SMC#136366 Piano Recital Solos Primer Bastien Kjos West
7 solos, all in C Major 4/4. The solos can be purchased separately. Several march tempos, accidentals, 2-note accompaniment , a few triads. $3.45.

SMC#136513 First Pops for Piano Level 1 Jane Bastien Kjos West
15 one-page solos. $3.95.

SMC#153940 Theory Workbook Level One W. Schaum Schaum Pub.
31 lessons. This workbook presents Level One music theory. The musical alphabet is used as the basis for note reading because it is easily recognized even by a young child. Line/space numbers and slogans are purposely avoided as a note reading crutch. Melodic and harmonic interval reading are emphasized because of their importance for note reading and for training the sense of touch). The student should become accustomed to the (feeling between the fingers ) to form the space needed to play each interval. For most students, one workbook page can be assigned each lesson; in some cases two pages can be assigned together. $5.50. I give the young student a new piece of sheet music every three or four weeks depending upon their ability and advancement. I play two or three solos and let the student pick the one they like. I often let the student do a piece in a sight playing book "on their own" as we have covered most or all of the things they will see. I use these solos for review and to reinforce concepts already learned. I usually spend only one or two lessons on these. I keep the sight playing on a lower level than the sheet music.

Theory Workbook Level One - Assignments - I assign Lessons 1 and 2 at the lesson, after this I do one lesson each week. (Can do more if student's age, ability and interest warrant it.) Lessons 3 (I omit this for very young, ages 4, 5, and 6). I sometimes assign both Lessons 7 & 8 in one lesson. Lessons 9 & 10. I omit Lessons 11 and 12 for very young students. Use Lessons 13 and 14. Omit Lesson 15 - I teach later. Omit Lesson 16 completely - I prefer Lesson 15 horizontal view of the scale concept. Lessons 17 & 18 - I will teach in a composition. Use Lessons 19, 20, and 21. Omit Lesson 22 - teach in a composition. Use Lessons 23 & 24. Omit Lessons 25 & 26 until future date. Lesson 27 - we probably have had triads in their other study but I might go into a more detailed explanation or review it if we've had it previously. Omit Lesson 28. Do Lessons 29 & 30 - teach if student is studying music with the dotted quarter and eighth, otherwise teach it at a later date. Omit Lesson 31 - can do this later at the teacher's discretion.

PRIMER SOLOS

SMC#463369 Ruffy and Tuffy Schaum Belwin Mills
Key of C major, 3/4. 2-note harmony-alternate hands. $1.25.

SMC#431923 Captain Candy Glover Belwin Mills
Key of C major, 4/4, Moderately. Words. Big notes, single note hand to hand melodic line. $2.00.

SCM#549089 Hey, Babaloola W. Noona Heritage Music Press
Key of F minor, 4/4, With Bravado, ABA form. Based on the blues scale, the hands stay in the same position throughout this solo. The melody is shared between hands with rhythms of half, quarter, and whole notes. The cool words will make you want to sing the blues! $1.50.

SMC#197089 Puss the Pianist Steadman Willis Music Co.
Big notes, cute words. Age 4 & 5. Legato & staccato $1.50.

SMC#533843 Bright Painted Ponies Mier Belwin Mills
Key of C major, 3/4, Moderately. A single note melody is shared between hands in the middle C position. Rhythms consist of quarter, half notes and quarter rests. Hands shift octaves in the coda. A good study of legato & staccato. At end of piece don't cross over, use L.H. on last note. Good recital piece. $2.00.

SMC#385660 The Hop-Toad Stillwell C. Fischer
Key of C major, 2/4, Gaily. Big notes, words, musical, staccato. Age 4, 5 & 6 or slow 7 year old. $1.25.

SMC#137092 Circus Parade Jane Bastien Kjos Music Co.
Key of C major, 4/4, Strict tempo. Single note melody. Staccato and legato. This is in Piano Recital Solos Bk. Primer. $1.45.

SMC#137656 Spot Jane Bastien Kjos Music Co.
Key of C major, 4/4, playfully. Late primer solo in Middle C position uses hand crossing and position changes at the end. Has eighth notes, staccato and legato phrasing. This is in Piano Recital Solos Bk. Primer.

SMC#137278 Jolly Juggler Jane Bastien Kjos Music Co.
Key of C major, 4/4, Happily. Legato and staccato. Ending both hands in the bass clef. This is in Piano Recital Solos Bk Primer Level. $1.45.

SCM#432073 Calliope Garrow Belwin Mills
Key of F Major, 4/4. Moderately. Staccato and legato touches, accidentals and slurs. $2.00.

SMC#536270 Teddy Bear Boogie Jane Bastien Kjos Music Co.
Key of F Major, 44, with spirit. A simple and cleverly written boogie with thumbs on middle C. Single note melody is shared between hands and the Eb gives it a "bluesy" sound. A fun piece! Expensive! $2.45.

SMC#21881 My Teddy Bear Noona Heritage Music Press
Key of C Major, 4/4, a happy march. This solo, with words, is written in the middle C position with the melody shared between the hands. It uses dynamics, a few eighth notes and accidentals to express feelings about the teddy bear. $1.95.

SCM#533841 Cats Stewart Belwin Mills
Key of C major, 3/4. Moderately. Words. Single melodic line between the hands. A few accidentals. $2.00.

SMC#585452 Follow Me Goldston Alfred Pub. Co.
Key of C major, 4/4, Tenderly. This solo is in the middle C position. Very little hands together playing as the melody is shared between the hands. It uses lots of phrasing and dynamics in this descriptive solo with words. $1.95.

SMC#302308 Indian Celebration L.F. Olson Alfred Pub. Co.
Key of C minor, 4/4, Lively. This solo is in the C major, five finger position. Using a flatted third gives it a minor sound. The melody is interchanged between the hands. Good recital piece. $1.50.

SMC#136972 Balloons For Sale Bastien Kjos Music Co.
Key of C major, 4/4, Happily. Single-note melody. Some solid 2nds and 3rds.. Words. Legato and staccato playing. Good study in phrasing. This is in Piano Recital Solos Bk. Primer. $1.45.

SMC#522006 Moochie Poochie Blues Noona Heritage Music Press
Key of F minor, 4/4, Andante, ABA form. Big notes, words, single melodic line written in F minor middle position. A blues solo written about a runaway dog. It uses accidentals and dynamic contrasts. $1.50.

SCM#549088 Walkman Blues W. Noona Heritage Music Press
Key of G major, 4/4, Strut! AABACA form. Hands stay mostly in the same position throughout with the left-hand thumb on C and the right-hand thumb on D. The right hand thumb moves to E in the B theme. The melody, played with a staccato touch, is shared between hands and based on G7 and C7 chords. It will be an easy piece to teach by rote. $1.50.

SMC#202873 Eskimo Land Burnam Willis Music Co.
6 pieces, 1 page each, big notes with words, very musical. Early elementary. 5 & 6 year olds. Very musical group:
1. Lullaby in an Igloo Key of C major, 4/4,
2. Little Eskimo Girl Key of C major, 4/4,
3. Totem Pole Tall Key of A minor, 4/4 (Recital),
4. Eskimo Yo Yo Key of C major, 3/4,
5. Penguins and a Polar Bear C major, 4/4 (Recital),
6. Fishing on the Ice Key of C major, 4/4 (the hardest) $1.50.

LEVEL ONE SOLOS

SMC#548473 Little Friend Goldston Alfred Pub. Co.
Key of C major, 4/4, Happily, ABAB Coda. A legato right hand melody, in the C-five-finger pattern, is accompanied by whole and half notes of the left hand. In the repeat of the A theme, the left hand has the melody accompanied by the right hand. The words tell about befriending a fuzzy little caterpillar. Phrasing. $1.95.

SMC#463729 The Waltzing Parakeet Schaum CPP
Key of C major, 3/4, Tempo di valse. LH melodic line accompanied by RH solid 3rds. Good recital piece. $2.00.

SMC#177670 Penguins at Play Heim Schaum Pub.
Key of C major, 3/4. 2-note harmony-alternate hands. Good recital piece. $1.25.

SMC#218938 The Turtle, That's Me! Noona Heritage Music Press
Key of C major, 3/4, Slowy like a turtle! Single-note melody, hand to hand. Some solid thirds. Clever words. $1.95.

SMC#587152 Circus Jugglers Goldston Alfred Pub. Co.
Key of C major, 4/4, Daringly. LH mostly staccato. RH solid thirds, LH five-finger position, single tones. Accidentals. $1.95.

SMC#589018 Curious Kittens Montgomery Alfred Pub. Co.
Key of C major, 4/4, Playfully. Cute words. Hand to hand single-note melodic line accompanied by solid 2nds, 3rds, 4ths and 5ths. Staccato and legato touches. Good recital piece. $1.95.

SCM#137494 The Roadrunner Jane Bastien Kjos Music Co.
Key of C major, 4/4. Legato and staccato. Half note, quarter note and eighth note passages. Accidentals. This is in Piano Recital Solos Bk Primer Level. $1.45.

SMC598155 A Whale of a Tale! Christiansen Alfred Pub. Co.
Key of C major, 4/4. Moderato. RH single melodic line, LH single note accompaniment. Phrasing. Cute words. Good recital piece. $1.95.

SMC456214 It's Spring Stewart Belwin Mills
Key of C major, 4/4. Allegretto. Words. Staccato and legato. Single note melodic line between hands. Some two note accompaniment. $2.00.

SMC137440 Midnight Dance Bastien Kjos Music Co.
Key of C major, 4/4. Steady march tempo, legato and staccato, accidentals. Melody

SCM#568513 Night Howls Stewart CPP
Key of G major, 4/4, Creepily. No key signature. It uses accidentals. Clever words. Mostly single-note melody accompanied by solid 2nds, 3rds and 4ths. $2.00.

SMC#541310 Who Am I? C. Clarke Alfred Pub. Co.
Key of G major, 4/4, Moderato, ABA form. The single note melody is shared between hands in the A section. Hands play together in the B section where the melody is accompanied by 2-note chords. Cute! Has words. Elephant. $1.95.

SMC#528963 What Do Bears Wear? C.S. Clarke Alfred Pub. Co.
Key of C major, 4/4, Andante. Melody is in the right hand accompanied by left hand intervals. Very cute words which are depicted by the right hand phrasing. $1.95.

SMC#581228 Honky-Tonk Ride Goldston Alfred Pub. Co.
Key of C major, 4/4, happily. Single line melody, alternate hands with some 2 note accompaniment. Legato and staccato touches. Words. $1.95.

SMC#509229 Jazz Band Goldston Alfred Pub. Co.
Key of G major, 4/4, Brightly. Words. Single note melody between hands. Some two note accompaniment in R.H. $1.95.

SMC#57233 Listen To The Locomotive Goldston Alfred Pub. Co.
Key of C major, 4/4, with a steady beat. This descriptive solo is sure to motivate students! It concentrates on the middle C position and utilizes dynamics from piano to forte. Augmented chords create the whistle sound. Sure to delight students! $1.95.

SMC#585443 Ladybug Boogie Mier Alfred Pub. Co.
Key of F major, 4/4, fast. The hands are in the middle C position throughout this piece. It requires good coordination as one hand plays legato while the other is staccato. This simple syncopation feel gives it toe-tapping appeal. $1.95.

SMC#520627 Taco Rock Mier Alfred Pub. Co.
Key of C major, 4/4, Moderately. Alternate right hand and left hand single tone melodic line. Some two note harmony in right hand. $1.95.

SMC#463300 Spooky Hollow Brown-Schaum Belwin Mills
Key of A minor, 4/4 Allegretto. A favorite. Dynamics, legato in one hand, staccato in the other. Takes continuity. Recital. $2.00.

SMC#463282 Grandfather's Clock Brown-Schaum Belwin Mills
Key of A minor, 4/4 Allegretto. A favorite. Dynamics, legato in one hand, staccato in the other. Takes continuity. Recital. $2.00.

SMC#533516 Diddley Doodley Montgomery Alfred Pub. Co.
Key of C major, 4/4, Happily, ABA form. The hands shift frequently in this lively piece. The A section has snappy rhythm where the hands play staccato, harmonic fifths. The B section is legato, soft and a nice contrast to the A section. $1.95.

SMC194758 Swaying Silver Birches Leslie Willis Music Co.
Key of C major, 3/4 andantino. Excellent teaching piece. Melody in L.H. two-note slurs in R.H. 2 piano part in Two Piano Album for 1st year. Thompson-Willis. Good two-piano recital piece. $1.50.

SMC#177583 Astronaut Adventure W. Schaum Belwin Mills
Key G minor, 4/4 Misterioso. Legato, staccato, dynamics, (technic LH) Recital piece. Accompanying 2nds and 3rds. Good recital piece. $1.50.

SMC#587154 Camilla the Camel Mier Alfred Pub. Co.
Key minor, 4/4 Mysteriously. LH mostly staccato open fifths, RH legato five-finger position, a few measures of eight eighth notes. LH stays in one five -finger position. RH has two different five-finger positions, lies easily under the fingers, many accidentals, an excellent solo. Good recital piece. $1.95.

SMC#137584 The Sleepy Alligator Jane Bastien Kjos Music Co.
Key of C major, 4/4 Moderato. Big notes, words, pretty harmony, cross hands. 25 measures, 7 year old-very easy. This is in Bastien Favorites Book Level One. $1.45

SMC#548470 Colors In The Sky C. Clark Alfred Pub. Co.
Key of G major, 4/4. The lyrical right hand melody is accompanied by the left hand. Teaching concepts in this solo are: eighth notes, phrasing, fermata and ritardando. The words describe the rainbow colors in the sky. $1.95.

SMC#552952 The Baby Dinosaur Lisa Bastien-Hanss Kjos Music Co.
Key of C major, 4/4, Moderato. This elementary solo has words and the melody is shared between hands. The left hand provides a single-note accompaniment at the end of phrases. It's very singable with nice melodic lines. $2.45 expensive.

SMC#137221 Halloween Witches Bastien Kjos Music Co.
Key of a minor, Mysteriously. Mostly staccato touch. Solid 3rds and triads. $1.45.

SMC#137068 Carnival Cha Cha Jane Bastien Kjos Music Co.
Key of G major, 4/4, with a steady beat. This piece is a good study in the G major I, IV, and V7 chords in both hands. This rhythmic piece is fun to pay and easy to learn. This is in Favorite Solos Level One. Good recital piece. $1.45.

SMC#137071 Cat at Night Bastien Kjos Music Co.
Key of F major, 4/4. Moderately fast. R.H. single note melodic line. L.H. I and V7 accompaniment. $1.45.

SMC#137065 Candy Striped Carousel Jane Bastien Kjos Music Co.
Key of G major, 3/4, moderately. R.H. single-note melodic line. Some hand to hand broken triads. L.H. two-note accompaniment. $.95.

LEVEL TWO SOLOS

SMC#592371 Tangerine Tango Clarke Alfred Pub. Co.
No key signatures, 4/4, tartly. It is in the key of G minor, uses accidentals. Mostly hand to hand single note melodic line. LH has some blocked 2nds, 3rds and 4ths. Good study in legato and staccato touches.

SMC#137254 Indian Ceremonial Bastien Kjos Music Co.
Key of D minor, 4/4, steady beat. The tom-tom bass is stated in open 5ths on D and Eb. The RH melody uses slurs, staccato, and legato touches. An easy big-sounding piece. Especially for boys. This is in Piano Recital Solos Level 2. $1.45.

SMC#436378 The Red Drum W. Noona Belwin Mills
Key of C major, 4/4, Briskly. The left hand keeps a steady quarter note rthythm under the right hand. Right hand uses the C major scale, legato and staccato phrasing over left hand open 5ths and 6ths. Great use of dynamics makes this a favorite recital solo. $2.00.

SMC#137536 Scat Boogie James Bastien Kjos Music Co.
Key of G major, 4/4, Fast, ABA form. The LH plays a boogie pattern using I, IV, and V chords. The RH plays a descending line where the 2nd finger crosses over the thumb. Students will enjoy this one! This is in Piano Recital Solos Level 2. $1.95.

SMC#137476 Pioneer Days Jane Bastien Kjos Music Co.
Key of A minor, 4/4, Boldly, ABA form, changes of key and tempo. The left hand opens in the A section with a melodic fourth. The right hand follows with moving root position triads and V7 chords. The B section is based on a familiar folk tune (unexpected square dance theme) in the C major five finger pattern. A bright sounding, good recital solo for those who like to play loudly. Older beginner. This is in Piano Recital Solos Level 2. $1.45.

SMC#137479 Pirate Island James Bastien Kjos Music Co.
Key of C minor, 4/4, Mysteriously. Cute. This popular solo has the melody in the left hand, accompanied by right hand root position chords. In the B section various octaves are used to give it that mysterious "pirate" sound. This is in Piano Recital Solos Level 2. $.95.

SMC#177676 Poppo the Porpoise Littlewood SO Schaum Pub.
Key of C, 4/4 Happily. Words, LH legato melody. RH 3 note accompaniment. 2nd part RH legato melody LH staccato accompaniment. Recital piece. $1.50.

SMC#432100 March of the Fleas Glover Belwin Mills
Key of C Major, 4/4, Briskly. LH alternates with the parallel triads of the RH in an interlocking hand position. Covers a large portion of the keyboard. Your students will be "itching" to play this one. Recital piece. $2.00.

SMC#1600441 Slightly Blue Mier Alfred Pub. Co.
No key signature, 3/4, slowly, accidentals, LH single-note melodic line. LH accompaniment has blocked 3rds and 5ths. Create "blues" effect. Good phrasing.

SMC#598447 Spooky Footsteps Rollin Alfred Pub. Co.
Key of D minor, 4/4 Brisk and sneaky. LH single-note melodic line, RH 3 note staccato 7th chord. Some solid and broken staccato root position triads moving over the keyboard, a fun piece. $1.95.

SMC#598093 Swami Poe Myklas Music Press
Key of G Minor, no key signature, uses accidentals. 4/4, moderato, misterioso. RH single-note figures accompanied by LH solid and broken fifths. Good study for phrasing. $1.95.

SMC#436630 Off Beat Grove Belwin Mills
Key of G Major. cut time, Bright. This bright, bouncy piece contains eighth notes, ascending and descending 3rds, and finger substitutions. A winner with your students. Teach 2 eighths as lazy dotted eighth & sixteenth. A winner with your students. Not much hands together. Super recital piece! $2.00.

SMC#204187 A Little Piece O' Rock Nevin Willis Music Co.
Key of C major, 4/4, Moderato. A bluesy right hand over a rocky, rhythmic bass. Good technical use of cross-overs. Ends on a C-7th chord with a sharp ninth. Good recital price. $1.50.

SMC#538864 Buried Treasure Jane Bastien Kjos Music Co.
Key of C minor, no key signature, uses accidentals. Mysteriously. LH five finger position and open 5ths. RH staccato. Contrasting dynamics. Expensive. $2.45.

SMC#432016 Banjo on My Knee Glover Belwin Mills
Key of C major, Common measure, Lively. Second page modulates to F major with a D.C. back to first page, ending in C major. Legato and staccato touches. Crossing of hands. $2.00.

SMC#436318 Agent 402 Garrow Belwin Mills
Key of C minor, 4/4. Misterioso. No key signature, uses accidentals. Legato, staccato, dynamics. Good recital piece. $2.00.

SMC#542698 You're So Fine Alexander Alfred Pub. Co.
Key of C major, 4/4, Allegro. A bright, cheerful piece where the right hand melody is accompanied by harmonic 5ths and some 6ths. Phrasing and dynamic contrasts make this an effective recital piece. 3 pages. $1.95.

SMC#568322 Thistles in the Wind Mier Alfred Pub. Co.
Key of F major, 3/4, gently. A pretty lyrical LH melody is accompanied by 2 and 3 note chords. The Db major triad adds harmonic interest. A good solo for teaching balancebetween the hands. $1.95.

SMC#564760 Green Dragonflies Mier Alfred Pub. Co.
Key of C minor, 4/4. Misterioso. No key signature, uses accidentals. Legato, staccato, dynamics. Good recital piece. $2.00.

LEVEL THREE SOLOS

SMC#137050 Blue Mood Jane Bastien Kjos Music Co.
Key of F major, 4/4, slowly. RH single note melody with root position chords in LH. Ends on a F major 7th chord. This is in Favorite Solos Level Three. $.95.

SMC#203482 Fiesta Gillock Willis Music Co.
Key of G major, 2/4, Moderato. This Spanish style piece in ABA form, has a syncopated RH melody accompanied by harmonic intervals in the LH. The B theme modulates to E minor then back to G major for the repeat of the A theme. This is a very lyrical recital piece. $1.50.

SMC#201820 Flamenco Gillock Willis Music Co.
Key of C minor, 3/8, Broken triads between the hands. Good for blocking triads. Legato and staccato, good range of dynamics. Middle section warm singing tone. Excellent recital piece. Delete measures 22 & 23. $1.50.

SMC#137353 March of the Troll Dolls Jane Bastien Kjos Music Co.
Key of C minor, 4/4. Strict march time. Staccato, accidentals. Change of clefs. Excellent recital piece. $.95.

SMC#137464 Party Rag James Bastien Kjos Music Co.
Key of C major, 4/4, Moderately. An easy rag. RH single note melodic line, LH mostly single notes, one harmonic 7th. Lies easily under the hands. Excellent for small hands.

SMC#137203 Good Time Boogie James Bastien Kjos Music Co.
Key of C major, Cut time, Bright boogie beat. The left hand keeps the steady boogie rhythm outlining the I-IV-I-V-IV-I progression. The right hand adds some syncopation to make this a great recital piece. $1.45.

SMC#431968 Hoe Down Glover Belwin Mills
Key of C major, 4/4. Fast tempo. A medley of two folk tunes. Fun piece. Good recital piece. $2.00.

SMC#137074 Chasin' the Blues Jane Bastien Kjos Music Co.
Key of C major, with spirit. More difficult than it looks. A catchy, fast paced blues requiring rapid hand shifts and a steady pulse throughout. A reach of a 7th is required. Nice blues touch in the closing. Accidentals, 7th chords in L.H. play with style. Ends on a C13 #11. This is in Recital Solos-Level 3. Excellent recital piece. $1.45.

SMC#137671 Sultan's Caravan Jane Bastien Kjos Music Co.
Key of D minor, 4/4, Moderato. The LH keeps a steady walking rhythm playing broken fifths in quarter notes. The RH plays the D harmonic minor scale several times to give it a characteristic Middle Eastern sound. It uses a lot of dynamic contrasts. This will be a good addition to a recital. This is in Piano Recital Solos. Level Three. $.75.

SMC#436408 The Viking Noona Belwin Mills
Key of E minor, 4/4. Fiercely. LH has melodic line, RH root position and first inversion triads. Contrast in dynamics. Excellent recital piece for boys. $2.00.

SMC#520632 Appaloosa Pony Mier Alfred Pub. Co.
Key of E minor, 2/4 fast and spirited. LH eighth notes staccato open fifths, solid 5ths and 6ths RH. Many eight and sixteenth notes. Single tones and 3rds. An exciting piece for a recital. Boys will love it. $2.00.

SMC#394042 Jazz Miniature Nevin Belwin Mills
Key of F major, 4/4, Moderato. Good technic, coordination. Boogie bass pattern, dotted note rhythms. Last line most difficult. Good for transfer pupil. Excellent recital piece. $2.00.

SMC#464260 Jazzy Fingers Nevin Belwin Mills
Key of C major, 4/4, Moderato. "Cool" good harmonies--looks easier than it is! No octaves, hand span of 7th. With the revival of "rag" this might be just the thing for the student who is looking for a real rag-time piano roll beat. $2.00.

SMC#520628 Whistlin' Joe Mier Alfred Pub. Co.
Key of C major, 4/4, Moderato with a swing (play eighth notes as dotted eighth & sixteenth notes). This easy syncopated rag-time piece has a chromatic RH melody that is accompanied by chords in the LH. $1.95.

SMC#576761 The Frisky Filly Mier Belwin Mills
Key of F major, Allegro. LH open 5th staccato bass . RH. root position F major & E major staccato triads. Middle section. Pattern single note bass. Accidentals and changes in dynamics. Good for small hands. Excellent recital piece. $2.00.

SMC#589015 The Chase Lancaster Alfred Pub. Co.
Key of A Minor, C, fast but steady. LH & RH baroken staccato 5ths up the keyboard! Middle section LH baroken octaves, RH single-note legato melodic line. Student should be able to span LH broken octaves easily. Three pages. $1.95.

SMC#557617 Jazz Hound C. Rollin Alfred Pub. Co.
Key of G minor, 4/4, Spunky and sniffing out trouble. This jazzy solo is sure to be a winner with your students! The RH plays jazzy eighth notes and triplets over a half note walking bass line. The light texture and use of dynamics makes this a fun recital piece. $1.95.

SMC#302995 Topsy Turvy Rag Alexander Alfred Pub. Co.
Key of C major, 4/4. Allegro. An easy rag. Good for small hands, no octaves or large stretches. $1.50.

LEVEL FOUR SOLOS

SMC#218806 The Cat's Big Walk Noona Heritage Music Press
Key of C minor, 4/4, with a swinging beat! RH single note triplet figures. LH single notes. Legato and staccato touches. Ends with Cm7, 9, & 11. Interesting solo.

SMC#203869 Blue Mood Gillock Willis Music Co.
Key of C minor, 4/4, moderately slow. Rhythm-a soft-shoe shuffle with an easy syncopated beat. Lies well in the hands. This bluesy piece is useful in teaching syncopation. $1.50.

SMC#204646 Ragtime Rhythm Gay Willis Music Co.
Key of G major, 4/4, with a lively swing. An easy to play rag. Good study of syncopated rhythm (as is the nature of the rags). For fun. Possible recital. Cute! $1.95.

SMC#204784 Hush-A-Bye Nevin Willis Music Co.
Key of G major, 3/4, andantino. Pretty. A lyric piece requiring good balance of melody and accompaniment. For musical students. For a sensitive student. $1.95.

SMC#528159 Moody Blues Rollin Alfred Pub. Co.
Key of D minor, 4/4, slow to moderate tempo, depending on your mood. The right hand has a syncopated melody consisting of triplets over an easy left hand accompaniment. Grace notes add to the bluesy mood.. Rhythms can be challenging and fun to play. Three pages. $1.95.

SMC#190990 Tulip Lichner Willis Music Co.
Key of G major, 2/4, Allegretto. Very melodious. RH has scale and chromatic passages. Some grace notes in RH. Excellent recital piece. Three pages. $1.95.

SMC#513073 Jazz Cat Rollin Alfred Pub. Co.
Key of C minor, 4/4, Sneaky and slinky. Chromatic quarter note walking bass. RH triplet rhythms. A fun piece! Three pages. $1.95.

SMC#190903 On the Meadow Lichner Willis Music Co.
Key of G major, 3/4, Moderato. RH scale and chromatic passages. LH first and second inversions of major & minor triads. Part B modulates to C major, then returns to part A with ending. Three pages. $1.50.

SMC#541098 Just an Ordinary Day Wells Myklas Music Press
Key of G major, 4/4, Moderato. The eighth notes are played in a swing style in this jazzy piece. Has nice chord progressions with major and diminished seventh chords. Not easy. Rhythm is "tricky". $1.95.

SMC#544745 Jazzin' Around Mier Alfred Pub. Co.
Key of C major, 4/4, Moderato. The eighth notes are played in swing style with ascending octaves accompanying the syncopated right hand melody. The rhythms are challenging but fun. $1.95.

SMC#529204 Larkin Street Rag Ellen Myklas Music Press
Key of C major, 4/4, Not too fast. She has written several easy rags which are motivating for the piano student. The steady quarter notes in the LH accompanies the syncopated RH. Three pages. $1.95.

SMC#205222 Pianola Rag Nevin Willis Music Co.
Key of G, 4/4. Dotted eighth note and and sixteenth rhythm, triplets and syncopation. A nice rag. $1.95.

SIGHT PLAYING BOOKS FOR THE VERY YOUNG

Primer

SMC#136360 Happy Halloween Bastien Kjos Music Co.
Primer through Level Two. 11 solos arranged in order of difficulty and thus may be assigned over a period of two or three years; the student may play several pieces each year. $3.95.

SMC#136363 Happy Valentine Bastien Kjos Music Co.
Primer through Level Two. 10 solos arranged in order of difficulty and thus may be assigned over a period of two or three years; the student may play several pieces each year. $3.95.

SMC#161992 Christmas Primer Schaum Schaum Pub. Co.
15 very easy carols and songs--a student with just six to eight weeks' study will be able to start working on this album. $4.50.

Level 1

SMC#136552 Rock 'N Blues for Fun Level 1 Bastien Kjos Music Co.
15 one-page solos.$2.95.

SMC#136513 First Pops for Piano Level 1 Bastien Kjos Music Co.
15 one-page solos. Keys of C and G Major and a, d and c minor. Uses patterns, legato and various dynamics, two-note harmony and triads. $3.95.

SMC#547394 Circus Scenes Poe Kjos Music Co.
14 solos. $3.45.

SMC#136348 Bastien Favorites Level 1 Bastien Kjos Music Co.
14 solos, may be purchased separately. $3.45.

SMC#532710 Boogie 'N Blues Level 1 Kowalckyk (beige) Alfred Pub.
8 two-page original solos. $4.95.

SMC#136516 Pop Piano Styles Level 1 Bastien Kjos Music Co.
13 short solos, some are two pages. $3.95.

SMC#431264 Boogie, Rock & Country Level 1 Bastien Kjos Music Co.
12 solos. $4.95.

SMC#136396 Christmas Favorites Level 1 Bastien Kjos Music Co.
11 carols and songs. It has We Wish You a Merry Christmas. $3.95.

SMC#547408 A Debut for You Book 1 Bastien Kjos Music Co.
12 two-page solos. $4.95.

SMC#1363369 Piano Recital Solos Level 1 Bastien Kjos Music Co.
$4.95.

SMC#317491 Popular Christmas Songs Level 1 Bastien Kjos Music Co.
An alternate book. 11 carols and songs arranged in progressive order of difficulty. Has Rudolph the Red-Nosed Reindeer. $4.95.

Level 2

SMC#136357 Pop, Rock N' Blues Book 1 Bastien Kjos Music Co.
11 short one and two page solos. $2.95.

SMC#136372 Recital Solos Level 2 Bastien Kjos Music Co.
7 solos. Each solo is two pages. Each solo is available in sheet music. $2.95.

SMC#136522 Pop Piano Styles Level 2 Bastien Kjos Music Co.
$3.95.

SMC#431265 Boogie, Rock & Country Level 2 Bastien Kjos Music Co.
11 solos. $4.45.

SMC#568301 Boogie N' Blues Level 2 (blue) Kowalchyk Alfred Pub.
8 original solos. $4.95.

SMC#564752 Jazz-a-little, JAZZ-A-LOT Book 1 Rollin Alfred Pub.
8 solos in jazz style for late elementary pianists. $3.95.

SMC#564225 Jazz, Rags & Blues Book 1 Mier Alfred Pub.
10 original solos. Late Elementary to Early Intermediate. $5.50.

Level 3

SMC#564230 Jazz, Rags & Blues Book 2 Mier Alfred Pub.
8 original solos. Early Intermediate to Intermediate. $5.50.

SMC#136375 Piano Recital Solos Level 3 Bastien Kjos Music Co.
7 solos. Each solo is available in separate sheet music. $3.45.

SMC#136543 Pop, Rock N' Blues Book 2 Level 3 Bastien Kjos Music Co.
9 solos. $2.95.

SMC#136528 Pop Piano Styles Level 3 Bastien Kjos Music Co.
$3.45.

SMC#136354 Bastien Favorites Level 3 Bastien Kjos Music Co.
14 solos. I like 6. $3.95.

SMC#564762 Jazz-a-little, JAZZ-A-LOT Book 2 Rollin Alfred Pub.
7 solos in jazz style for Early Intermediate pianists. $3.95.

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