ANTHOLOGY OF BAe a erin PIANO MUSIC Intermediate to Early Advanced Works by 31 ComposersANTHOLOGY OF AMERICAN PIANO MUSIC EDITED BY MAURICE HINSON Foreword, Contents About This Edition. .. Suggested Further Reading 5 Acknowledgements. About the Composers and the Musie........ 6 ANDERSON, LEROY Fidale-Padile, 116 2 Jaze Pizzicato . Sleigh Ride... The Syncopated Clock. . ot ARLEN, HAROLD and HARBURG, E. ¥. Over the Rainbow (arr. Shearing) 38 ARNDT, FELIX Nola 41 BARBER, SAMUEL Love Song 5 : see AB BEACH, AMY Barzaralle, Op. 28, No. 1 49 BEIDERBECKE, BIX In a Mist (are. Williams)... F 56 BOWMAN, FUDAY L. 12th Street Rag. BRUBECK, DAVE Plas Rewieg igi BURLEIGH, HARRY T. On Bended Knees (Nobody Knows the ‘Trouble I've Seen). ‘ CARR, BENJAMIN Yankee Doodle (Arranged as a Rondo) CONFREY, ZEZ Disay Fingers . -100 Kitten on the Keys : 5 81 COPLAND, AARON ‘The Cat and the Mouse (“Scherzo Humoristique”) ... 86 DETT, NATHANIEL Juba : 2 ELLINGTON, DUKE Do Nothin’ Till You Hear from Me ....20.+0+00++96 Don't Get Around Much Anymore... - -98 FINNEY, ROSS LEE Medley —Campfire on the Tet 0... eccveeeveee. 107 This edition is dedicated to Dr. Jonathan Brown, with admiration and appreciation Maurice HinsonFOSTER, STEPHEN ld Folks at Home (Way Down Upon the Swanee River) 110 GERSHWIN, GEORGE ‘The Man I Love. ...... 1d Prelude (Novelette in Fourths) ceeee IB Prelude I (Blue Lullaby) ........224 ei Swanee 2... 126 GOTTSCHALK, LOUIS MOREAU Columbia (Caprice Americaine on “My Old Kentucky Home”) .....0022000:ecceee 128 GOULD, MORTON Boogie Woogie Btude ........0cc0ceeeeeeeseee 146 Pacanne boeoo sec aeroccece oer) GRIFFFS, CHARLE: The Lake at Evening, Op. 5,NO.L.c.scececseee00153 JOPLIN, SCOTT Bethena (A Concert Waltz) .. : 2156 Euphonic Sounds (A Syncopated Two Step) = 162 KENTON, STAN Eager Beaver... a. sees 166 MACDOWELL, EDWARD March Wind, Op. 46, No.10...0.0000000c000020172 MERCER, JOHNNY and RAKSIN, DAVID Laura (are. Previn) -.170 NEVIN, ETHELBERT Narcissus, Op. 14,No.4.00006000005 iy ORIGINAL DIXIELAND JAZZ BAND Tiger Rag (arr. Wilson) 188 RODGERS, RICHARD Blue Moon (ace. Tatum) . 180 TAYLOR, RAYNOR Variations on Adeste Fideles CO Come, All Ye Faithful”) ......0..0.ceeeee. 182 WALLER, THOMAS “FATS” All That Meat and No Potatoes ....2..000c0+000++186 The Jitterbug Waltz. ce. - 193 WIGGINS, THOMAS “BLIND T Battle of Manassas... ec ceccoee 202 WILLIAMS, MARY LOU ‘The Duke and the Count... -198,‘The piano began to su- persede the harpsichord around the same time the United States of America became an independent nation. Piano music has remained extremely pop- ular in the U. S. A. ever since. During the 19th century, the piano became a fixture in most Ameri- can homes, and American piano manufacturers such as Alpheus Babcock (1785-1842), Jonas Chickering (1798-1853) and Henry Steinway (1797-1871) made some of the best instruments in the world. During the 20th and 21st centuries, the piano has remained in wide use, even when radio, television and recordings have threatened its dominance. American music pub- lishers have always focused on piano music more than any other area of music, publishing numerous works by both foreign and American composers. This vol- ume focuses on a variety of styles and ethnic influ- ences found in American piano music from the late 1700s forward. Foreword American Piano Music to 1865. Important American keyboard composers during the late 18th and early 19th centuries include Alexander Reinagle (1756-1809), James Hewitt (1770-1827), Benjamin Carr (1768-1831) and Raynor Taylor (1747. 1825). Although these composers were not born in ‘America, all of them came to this country in their carly years and spent their entire professional careers in the United States, and therefore can be regarded as American composers. Between 1820 and the start of the American Civil War (1861), piano music for amateurs developed rapidly. Popular types of piano music during this period included sets of variations, dances, and abstract genres, with rondos being the most numerous. Starting in the 1840s, 2 Romantic influence could be felt, due to visiting European virtuosos. Anthony Philip Heinrich (1781-1861), Louis Moreau Gottschalk (1829-1869) and William ‘Mason (1829-1908) were three of the best-known composers from this period. American Piano Music from 1865 to 1920. From. the end of the Civil War (1865) to the early 20th century, American piano music was dominated by the traditions of central Europe. Most important American composers had studied in Europe, primarily in Germany. A group of composers centered in Boston ("“The Boston Group”) included John Knowles Paine (1839-1906), George W. Chadwick (1854-1931), Amy Beach (1867-1944), Daniel Gregory Mason (1873-1953), Edward ‘MacDowell (1861-1908) and Ethelbert Nevin (1862-1901). These composers wrote suites, sonatas, fugues and sets of small pieces. Other composers during this time included Charles Griffes (1884-1920), who was greatly influenced by the French Impressionists and Asian music, and Charles Ives (1874-1954) who worked in isolation and refused to follow any rules he did not invent himself. ves often fused elements from the Romantic vocabulary with elements of American folk music. American Piano Music since 1920, American piano music has seen a great deal of stylistic diversity since 1920. Many composers followed a more serious, craftsman-like compositional. style based on principles established by The Boston Group. Composers writing in this period include Aaron Copland (1900-1990), Roger Sessions (1896— 1985), Ross Lee Finney (1906-1997), Samuel Barber (1910-1981) and Elliott Carter (b. 1908). Notable composers of 12-tone piano music include Milton Babbitt (b. 1916), George Rochberg (b. 1918) and Charles Wuorienen (b. 1938). Piano Music of Popular Inspiration. Ragtime and early jazz, created by African-Americans such as Scott Joplin (1868-1917) and Louis Armstrong (1900-1971), spread to mainstream culture and transformed American social dancing and popular music. Legendary American composer George Gershwin (1898-1937) combined elements of jazz with those of the mainstream concert tradition. “Novelty” music of the 1920s was inspired by ragtime, popular dance music, and Impressionistic elements (including the whole-tone scale and parallel fourths). Zez Confrey (1895-1971) composed Ksrremon the Keys around 1920, which helped establish the “novelty” style. Boogie-woogie, an up-tempo piano style based on the blues, originated in the early part of the 20ch century and continued its popularity through the 1940s. The style is characterized by an ostinato bass line within a 12-bar blues progression. A number of fine examples are contained in this volume, including pieces by Jack Fina (1913-1970), ‘Thomas “Fats” Waller (1904-1943) and Mary Lou Williams (1910-1981). The Avant-Garde. Early unique voices in this area are Henry Cowell (1897-1965) and Charles Ives. Ivesexperimented with many innovations such as writing music for two pianos tuned a quarter tone apart, and having the pianist strike the keys with a board to produce massive cluster sounds, Cowell also used tone clusters (his produced by hand and arm), and wrote music requiring the pianist to play directly on the strings by plucking, stroking and striking them. Cowell’ approach was passed on to his student John Cage (1912-1992) who developed the “prepared piano,” in which various objects and bits of material are placed on and in between the strings. Other highly innovative composers include Christian Wolff (b. 1934), Larry Austin (b. 1930), George Crumb (b. 1929) and Steve Reich (b. 1936), who pioneered the minimalist style. About This Edition All fingerings, pedal indications and metronome marks are editorial, unless otherwise indicated. All parenthetical material is also editorial. Since pedaling is highly subjective, editorial pedal in- dications should be considered as suggestions, Many of the pieces in this volume were written during a time when eighth notes were frequently played with a swing rhythm:(J9-J'}). Be sure to swing the eighth notes when you see this indication next to the tempo heading. Suggested Further Reading Gammond, Peter. The Oxford Companion to Popular Music, Oxford, New York: Oxford University Press, 1993. Hinson, Maurice. Guide to the Pianist’: Repertoire Bloomington, IN: Indiana University Press, 2000. Hitchcock, H. Wiley and Stanley Sadie. The New Grove Dictionary of American Music. London, New York: McMillan Press, 1986. Acknowledgements ‘Thanks to ‘Tom Gerou for suggesting this collec- tion, and to E. L. Lancaster and Carol Matz for their generous assistance and expert editorial advice. Additional thanks to Brandi Lowe and Lindsey Harris for their superb administrative assistance.About the Composers and the Music LEROY ANDERSON (1908-1975) This American composer studied at the New England Conservatory and Harvard University. He was an organist and choirmaster, orchestra director and a freelance composer and arranger. He mainly worked for the Boston Pops Orchestra and its conductor Arthur Fiedler, who premiered many of Anderson's works. 16 Dating from 1947, this piece is based on the famous violinist Niccold Paganini’s “Perpetual Motion.” Observe the accents carefully, for they generally outline the melody. Form: Introduction = measures 1-8; A = 9-25; B 26-41; A = 42-61; transition = 62-69; C = 70-8 transition = 86-93; A’ = 94-121; coda = 122-135. Jars: Pizzicato... This piece was composed in 1938 and was followed by a companion piece titled “Jazz Legato.” Strong accents (fs), marcato, and the use of staccato give the effect of pizzicato on the piano. In measures 37-43 and 45-50, play the bass grace notes slightly before the beat. Form: Introduction = measures 14; A = 4-20; B = 20-36; C = 37-52; A = 52-66; coda = 67-70. Sleigh Ride . 26 Composed in 1948, this holiday season standard suggests a vivid picture of a crisp winter day on a snowy country road, complete with trotting horse, whip, and sleigh bells. Ironically, the piece was actually written during a heat wave. Form: Introduction = measures 1-12; A = 12-28; B = 28-44; A = 44-60; transition = 61-62; C = 62-92 (part I = 62-70, part II = 70-78, part I = 78-86, part Il = 86-92); transition = 92-98; At 8-118; B' = 118-134; A= 134-147; coda = 148-162. ‘The Syncopated Clock ..+4+ 0100000000002 0 34 For this 1945 composition, Anderson thought of the title before writing the music. He realized there were numerous pieces about clocks, but no one had created a composition based on a clock that beats in a syncopated rhythm, Form: Introduction = measures 1-2; A 18-26; A = 26-34; transition = 34-38; C 72; codetta = 72-73. HAROLD ARLEN (1905-1986) Born in Buffalo, New York, Arlen received most of his musical knowledge from his father, who was a cantor in the local synagogue. Arlen worked as a pianist, jazz band singer and arranger, and began to earn his living playing piano on lake steamers and in nightclubs. In the 1930s, he recorded as a singer with Benny Goodman and Eddie Duchin. Among his many songs for films, his greatest success came in 1939 with the classic movie The Wizard of Oz, starring Judy Garland. “Over the Rainbow” became a ray of hope for many trying to find their way out of the depression. Over the Rainbow... 38 This arrangement was created by George Shearing (b. 1919), the legendary jazz pianist. ‘The lyrics were written by E. Y. Harburg (1898-1981). Be sure to bring out the melody, which usually appears in the top voice. In measure 26, play the grace notes in the left hand slightly before the beat. Form: A = measures 1-16; B = coda = 32-36, 16-24; A! = 25-32;FELIX ARNDT (1889-1918) Amdt studied at the New York Conservatory and was organist at Trinity Church, New York. He also worked as a pianist with various music publishers, lead his own orchestra, and made more than 3,000 piano rolls, His wife Nola (1889-1977) was the inspiration for his most famous piece, named in her honor. Nola .. Al Written in 1915, this piece was a huge hit with the American public, and has remained very popular since its publication. The dynamic range is small (p-mf) and requires a light touch throughout. Form (rondo) 24; A = 25-40; C =41-56;D. (69-84; A = 85-100; coda 101-108. SAMUEL BARBER (1910-1981) Barber's accessible idiom is based on a lyrical, mainly tonal neoclassical style. His works have received widespread acceptance in America and abroad. Love Song... 48 This piece is the first of Three Sketches, composed during 1923-1924, and is dedicated to the composer's mother. This piece is a “song without words” that flows gracefully and has strong melodic emphasis. Use poco rubato at measures 11-12 and 15-16 so that the moving bass line does not sound rushed. The piece could be repeated with varying dynamics. Form: A= measures 1-8; B = 9-16; = 21-24 (based on measures 1-3) 7-20; coda AMY BEACH (1867-1944) During her lifetime, Amy Beach was America’s most famous female composer. Many of her piano pieces were composed in a style quite popular with audiences. Barcarolle, Op. 28, No.1... +249 ‘The gentle rise and fall of this barcarolle clearly suggests the movement of the gondola, The rich harmonies heard in the outer sections contrast with the simple harmony in the middle section. Form: A = measures 1-37; B = 38-92; A'= coda = 123-138. BIX BEIDERBECKE (1903-1931) Bix Beiderbecke was an American jazz comet player, pianist and composer. Despite his short life, Beiderbecke had a legendary career. He was a gifted improviser with an innovative style. “In a Mist” (1927) was the only one of his piano compositions that he recorded. Ina Mist... cece cece eee c eee e eee ee 56 Take plenty of time so that the fast changing harmonies are clearly heard. The short boogie- woogie sections (measures 25-27 and 32-33) should have a definite swing feel. Form: Introductio 7-14, part IT 48-56. measures 1 22 (part 15-22); B = 23-38; C = 39-47; DEUDAY L. BOWMAN (1887-1949) ‘This composer and arrangeris bestknown for his 121 Street Rag, written in 1914. He arranged the piece for various orchestras in the 1920s and 1930s. This rag became a top seller in 1948 when it was recorded by Pee Wee Hunt (1907-1979). It remains one of the most popular rags of all time. 12th Street Rag... 59 This piece has a theme and variations structure, which is unusual for arag. A looping three-note idea makes the piece easy to play and provides a catchy rhythm (measure 17 forward). Be sure to observe the accent on the final sixteenth notes in measures 18, 23, 26, ete. Form: Introduction = measures 1-16; Variation 1 17-48 (part I = 17-33, part II = 34-48); Variation 2 49-80 (part I = 49-64; part II = 65-80); Variation 3 (trio) = 81-108 (part I = 81-100; part IT = 101-108); coda = 109-116. DAVE BRUBECK (b. 1920) Dave Brubeck is one of America’s greatest jazz pianists. He studied composition with Darius Milhaud (1892-1974) and Arnold Schoenberg (1874-1951). In the 1970s, Brubeck moved towards the rock field and has worked with his three sons, Darius, Chris and Danny. Blue Rondo a la Turk 64 Brubeck was inspired to compose “Blue Rondo a la “Turk” (1958) when he heard Turkish street musicians performing an interesting § rhythm. The nine beats were grouped “1-2, 1-2, 1-2, 1-2-3,” which forms the rhythmic basis for Brubeck’s composition. measures 1-8; B = 9-16; A! = 17- 103-117; A’ = 117-128; A= 129-132; D 144; E! = 145-155. HARRY T. BURLEIGH (1866-1949) Burleigh was a student at the National Conservatory of Music in New York City from 1892-1895, while Antonin Dvorék (1841-1904) was president of that institution. Dvorsk strongly suggested that American composers use African-American folksongs as inspiration for their music, advice that is evidently followed in this work. On Bended Knees Nobody | Knows the Trouble Tve Seen) .... 78 “The melody is always the most important element of this devotional piece. In the A sections, the melody can be found in the left hand. In the B section and the codetta, the right hand displays the melody. This piece is very suitable for the offertory at a church service. Form: A = measures 1-13; B = 14-38; A = 38-49; codetta = 50-52. BENJAMIN CARR (1768-1831) Carr was born in England, and arrived in this country in 1793, He set up a music business in Philadelphia and was one of the most important musicians in early America. “Yankee Doodle (Arranged as a Rondo)” is the final section in Carr’s sonata The Siege of Tripoli: An Historical Naval Sonata for the Piano, Op. 4, published in Philadelphia in 1804. Yankee Doodle (Arranged as a Rondo)........74 “Yankee Doodle” was the battle ery of American soldiers during the Revolutionary War (1775— 1783). Ironically, this favorite tune of unknown origin had been an English popular tune prior to this time. Its first publication in America occurred in 1794 when Carr used it in his Federal Overture. Keep the left hand Alberti bass figuration light while bringing out the right-hand melody in measures 9-15 and 69-84. The grace notes in measures 6, 8, 11 and 33 should be played on the beat like crushed notes (acciaccaturas). Carefully observe the strong dynamic contrasts in measures 44-46.Form: A= measures 1-27; = 77-95; transition = 96-104; A 54; C= 55-77;D. 127. ZEZ CONFREY (1895-1971) This composer, pianist and bandleader studied at the Chicago Musical College. He made numerous piano rolls of his and other people's music. Confrey toured with his own orchestra throughout the 1920s. He developed a pop style known as “novelty piano” which combined piano technique with syncopated rhythmsand elements of dance music. He performed “Kitten on the Keys” at Paul Whiteman’s Aeolian Hall concert in 1924. Diazy Fingers soe 100 Flying fingers characterize this famous work, full of scales, arpeggios, and off-beat accents. Do not let the tempo run away—keep it tightly controlled or you will be sorry! Form: Introduction = measures 14; A = 5-36; B= 37-68; A = 69-102; C = 103-119; A = 120-155. Kitten on the Keys 81 This delightful piece, composed in 1921, puts a smile on the listener's face! Bring out the top notes of the rolled chords in measures 5-8, 15-16, 45-48, and 55-56. Keep the left-hand octaves staccato in measures 67-68, 75-76, 83-84 and 91-94. Form: Introduction = measures 1-6; A = 7-23: 24-40; A = 40-62; C (trio) = 63-90; coda = 91-98. AARON COPLAND (1900-1990) Copland’s contribution to piano literature is not large but it is important. His style, which is a blend of classical, folk, and jazz elements, has gradually and naturally evolved from the early French-inspired “The Cat and the Mouse” to the 12-tone “Piano Fantasy.” Copland was always inspired by the idea of composing music for and about young people. ‘The Cat and the Mouse... 86 This humorous scherzo dates from 1920, when Copland was a student in France. It is a descriptive piece that shows the influence of Claude Debussy (1862-1918). The “action” is as follows: measures 1-3, the cat is sneaking up on the mouse; measure 4, the cat pounces on the mouse; measures 5-39, the cat chases the mouse; measures 40-50, the cat stalks the mouse; measures 51-62, the chase resumes; measures 6372 depict the battle; measures 73-80 suggest the funeral; measures 81-83, the cat slowly limps away. 539; B 3-80; codett NATHANIEL DETT (1882-1943) Dett’s music ranges from short melodic pieces to extended virtuosoworks. Although hispieces became increasingly complex as he became more involved in the craft of composition, Dett never broke from his strong roots in the lyricism of the African-American spiritual. Juba... ‘This piece comes from a suite for piano, entitled In the Bottoms. The five pieces in the suite portray various moods and scenes of African-American life on the Southern rivers of the United States we 92 In a “juba,” the dancers keep time by stamping on the ground then patting their hands twice. Do not rush the tempo. This type of dancing is done with a grace and finish that a presto tempo never could suggest. Form: Abe 16-31; A= 31-39; C = 39-575 7-69; A = 70-81; coda = 82-104,DUKE ELLINGTON (1899-1974) ‘This important creative figure in American music began his career in art, but soon started playing the piano and formed his first band in 1923. He developed a highly individual style and made over 200 recordings. In 1931 he began writing more extended works and in 1933 his band first toured Europe. Ellington composed a film score and stage music, and in his later years he experimented with liturgical music. Do Nothin’ Till You Hear From Me . 96 This boogie-woogie arrangement by Ellington came out in 1943. Te keeps the melody pretty much in its original form while adding some boogie-woogie left- hand figuration. Form: A = measures 1-17; (part I = 1-9; part Il = 9-17); B = 18-25; A! = 25-32; codetta = 32-33. Don’t Get Around Much Anymore ..........98 ‘This is another boogie-woogie arrangement by Ellington. Both of the Ellington pieces in this collection enjoyed great popularity for a long time and continue to be standards in the jazz repertoire. Form: A = measures 1-16; B = 17-24; A'= 32. 10 ROSS LEE FINNEY (1906-1997) Finney’ earlier works, including this piece, have their roots in our American heritage. During the 1950s, Finney’ tonal language became more chromatic and dissonant, eventually making use of serial technique. His sonatas and smaller pieces are a notable contribution to American piano literature. Medley—Campfire on the Tee . ++ .++++++64.107 In composing this piece, Finney dipped into a pair of American folk tunes (“Red River Valley” and “Dinah, Won't You Blow Your Horn?”). The medley is an honored American musical form. Whenthemelodies are combined (measure 41 forward), the pianist must be sure to bring out both. Other performance challenges include passing the melody between hands and adjusting to sudden tempo changes. Form = A = measures 1-16; B 16-40; A! = 40-53. STEPHEN FOSTER (1826-1864) Although best known for his enduring songs, Foster also composed a few piano pieces. ‘They evoke a nostalgic charm of a youthful United States. Old Folks at Home (Way Down Upon the Swance River) ..... il: ‘This song was written in 1851 but the exact date of Foster’s arrangement for piano is unknown. The tune is first heard complete, then is followed by three variations: a polka, a quadrille and a hornpipe. Form: Theme = measures 1-24; Variation 1 = 25— 40; Variation 2 = 41-72; Variation 3 = 73-90; codetta = 90-92GEORGE GERSHWIN (1898-1937) Gershwin was one of the most gifted American composers in terms of pure native talent. Out of the elements of jazz, ragtime and blues, he wove a musical language that was fresh, spontaneous and, above all, American. The Man I Love « 14 This song was composed in 1924 but did not make it into a musical until 1927, when it appeared in the musical comedy Strike Up the Band. This transcription for solo piano appeared in George Gershwin’s Songbook (1932). Form: A = measures 1-16; B codetta = 32-33. 17-24; A = 25-32; Prelude (Novelette in Fourths) .. Composed around 1919, this piece suggests a cakewalk. The cakewalk wasa dance with syncopated music, similar to ragtime, and appealed to Europeans as well as Americans. Debussy’s Golliaog’ Cakewalk is a well-known example, of which this prelude has some of the same character. Form: Introduction = measures 1-4; 21-38; At = 39-54; codetta = 55-58. 122 Prelude II Blue Lullaby) ....+ +0 0000000s A lyric blues with an ostinato-like accompaniment, this work contains interspersed bridge material at measures 31-44. Keep the beat steady throughout the piece, with the exception of a few ritardandos. Form: A = measures 1-30; B = 31-44; A = 45-58; codetta = 59-61. WARE occ cence ccc eee tence ceee nes 126 Gershwin composed this big hit in 1919. When Al Jolson used it in his show Sinbad, it became extremely popular. Notice the melodic reference to Stephen Foster's song Old Folks at Home (“Way down upon the Swanee River...”) at measures 32-33. Form: A = measures 1-16; A! = 31-32. 17-31; codetta = LOUIS MOREAU GOTTSCHALK (1829- 1869) Goutschalk’s piano music combines both European and American influences. In this regard he anticipated the work of later American composers such as Copland, Cowell, Gershwin and Ives. His ‘works contain varying moods and a colorful virtuoso sweep that imprint his style as @ unique American musical expression. Columbia (Caprice Americaine on “My Old Kentucky Home”)... .000cccceeeeeeeee 128 This piece is a wild transformation of Stephen Foster's “My Old Kentucky Home.” It is. full of banjo-like sections, glittering passages, and concludes with a virtuosic cadenza. Form: Introduction = measures 1-2; A = 3-26; B = 26-50; transition = 50-57; B! = 58-74; C = 74-121; transition = 122-125; B’= 126-141; C'= 141-170; Al= 170-214; A¥ = 214-226; coda = 227-234, 11MORTON GOULD (1913-1996) Gould composed brilliantly for orchestra, Broadway, film, television, ballet and piano. He was commissioned by various symphony orchestras throughout the United States, the Library of Congress, the Van Cliburn International Piano Competition, the New York City Ballet and the American Ballet Theatre. He combined American popular folkmusic with more sophisticated structures and imaginative rhythms. Boogie Woogie Etude. ...60..e0eccee0 000146 Composed in 1943, this piece features a fast boogie woogie piano style, characterized by broken octaves in the bass line. In this composition, Gould puts together many small sections with similar rhythmic patterns to make one continuous, fast-driving piece. Form: A = 1-13; B = 14-17 (repeated); C = 18-28; D = 29-36; E 19-57; G = 58-63; H = 64-70; Pavanne .. = 140 This piece is a piano arrangement of a movement from Gould's Second American Symphonette, composed in 1938. Form: A = measures 1-33; = 78-104; coda = 105-114. = 3447; C= 48-77, A" CHARLES GRIFFES (1884-1920) Griffes had a love for Asian subjects and was preoccupied with Impressionistic techniques. The Lake at Evening, Op. 5, No.1 ...+ +++ +153 This piece is one of Three Tine Poems, Op. 5, composed between 1910 and 1912. Griffes included an epigraph at the beginning of each piece. The one used here, from The Lake Isle of Inesfvee by William R Butler Yeats (1865-1939), refers to“lake waterlapping with low sounds by the shore...” This compelling piece has an eerie quality, produced by the insistent repetition of a rhythmic figure (ostinato) throughout, suggesting the lapping lake water. Be sure that the ostinato remains in the background. Bring out the melody in the right hand until measure 57, where it shifts to the left hand. Form: Introduction = measures 1-2; A = 3-23; B = 24-45; Al= 46-61; coda = 61-67. SCOTT JOPLIN (1868-1917) Joplin was the leading figure in ragtime and a man very much in tune with his times. He is widely considered to be the best of the ragtime composers— the most professional, original and serious composer ofthe genre. His music is finally receiving its proper due in American piano literature. Bethena (A Concert Waltz) ... This poignant piece was composed in 1905. The A section is played three times in the work and its four- note motif is heard in both the introduction and the coda. Chromaticism is used extensively throughout the piece. Form: Introduction = transition = 25-28; B = 29-45; transition 3-68; transi 9-76; C = 77-97; transition 8-101; D = 102-118; E = 119-135; transition = 135-140; A = 141-155; coda = 156-164, measures 1-8; A Euphonic Sounds (A Syncopated Two Step) . ..162 In this 1909 piece, Joplin does not employ the usual “oom-pah” ragtime bass, but rather features scales and chord patterns. Form: Introduction 30-47; C = 48-6: measures 1-4; A 16-89; coda = 89-93, 29; B=STAN KENTON (1912-1979) This famous jazz bandleader and composer grew up in California playing piano in local saloons and nightclubs, He began experimenting with new jazz sonorities and was constantly inventing terms to describe his conducting style and arrangements (such, as “progressive jazz” and “artistry in rhythm.”). He experimented with whole-tone scales, consecutive major-ninth chords and other avant-garde techniques. Kenton led many big bands and made numerous recordings. He made a great contribution to educating and training young talent. Eager Beavers ...eccceeeeecee esse eens e166 This work dates from 1943 and was originally written for Kenton’s orchestra. This version, transcribed for piano, is full of Kenton’s rhythmic experimentation. Be sure to count the rhythm carefully. The style is basically non-legato and uses as little pedal as possible so that the rhythmic thrust, is easily heard. EDWARD MACDOWELL (1860-1908) Considered by many to be America’s first truly professional composer, MacDowell was at his best composing miniatures. His piano writing shows that he understood the styles and idioms of the late 19th- century. He left us 160 Romantic character pieces filled with poetic mastery. MacDowell was the best-known American composer prior to the 20th century and one of the first to receive international recognition. March Wind, Op. 46, No. 10. 172 ‘This piece is from Tvelve Virtuoso Studios, composed in 1894, It stimulates the imagination in the use of tone color and pedal. ‘The opening figuration sets the pattern for the entire piece, until the coda. We get the idea of wind sweeping across a spacious American landscape. ‘The piece begins like a roaring lion and goes out like a meek lamb! Form: cod: = measures 1-36; B = 37-5: 13-121. ; Al 59-1125, JOHNNY MERCER (1909-1976) and DAVID RAKSIN (1912-2004) ‘Mercer is well known as a composer, lyricist and singer. He composed songs for movies and shows and was a co-founder of Capitol Records. Raskin composed numerous pieces, including over 100 film scores. Laura was composed by Raksin in 1944 for the movie of the same name. Tt became enormously popular and was subsequently recorded by numerous artists. Laura... 6.0 ‘This piece was arranged by conductor, composer and pianist André Previn (b. 1929). It is very free (see the “ad lib.” indication in the tempo heading) and the melody is highly decorated, somewhat similar to Baroque technique. Pay careful attention to the accelerandos and rallentandos. Form: Introduction = measures 1-8; A = 9-18; B = 19-30; coda = 31-35, BETHELBERT NEVIN (1852-1901) Nevin studied in Germany and lived in Berlin, Paris and Florence before finally settling in New Haven, Connecticut. His natural talent for tuneful songs and piano pieces brought him a certain amount of fame. Narcissus, Op. 14,N0. 4.0. 0e0eeeeeeee M77 ‘This popular piece was composed in 1891 as part of a suite entitled Water Scenes. Narcissus is the character in Greek mythology who fell in love with his own reflection in the water. Keep the hands close together when crossing over. The left-hand triplets in the B section need to be quieter than the right- hand melody. Form: A = measures 1-16; B = 17-35; A= 35-51. ORIGINAL DIXIELAND JAZZ BAND Dixieland jazz was a name given to the brash, marching jazz style that came out of New Orleans around the turn of the 20th century. The Original Dixieland Jazz Band made some of the first jazz recordings in 1917. Tiger Rag... = 188 This piano interpretation is by ‘Teddy Wilson (1912-1986) who was an outstanding American jazz pianist. Arpeggiate all of the tenths if you can’t reach them. ‘The touch should be on the light side. Form: A = 1-32 (part I = 1-12; part II = 13-24; part, III = 25-32); B = 33-56 (part I = 33-40; part Il = 41-48; part IIT = 49-56); C = 57-88 (part I = 57-64; part II = 64-72; part III = 73-88); coda = 89-92. RICHARD RODGERS (1909-1979) Rodgers inherited his musical gift from his motk who was pianist and piano teacher. While studying ae Columbia University he met Lorenz Hart (1895- 4 1943) who became his lyricist. They collaborated on many famous tunes over the years. After Hart died, Rodgers teamed up with Oscar Hammerstein (1895-1960) and they collaborated on a number of legendary musicals and movies. Blue Moon... . +++ 180 ‘This song went through a series of revisions before coming outin 1934under the title“Blue Moon.” ‘The piano solo version was arranged by the famous Art ‘Tatum (1909-1956), one of the greatest jazz pianists ever. Tatum had an astonishing technique and talent for improvisation, as this arrangement so aptly displays. Form: A = measures 1-16; B = 16-24; A's coda = 32-35. 2431; RAYNOR TAYLOR (1747-1825) Bor in England, Taylor served as a choirboy at the Chapel Royal and sang at Handel’s funeral in 1759, He arrived in the United States in 1792 and served as organistat St. Anne's parish in Annapolis for a few months, but soon left for Philadelphia. Well known as a teacher, singer, and all-around church musician, Taylor did much to enrich the cultural life of Philadelphia. Variations on Adeste Fideles (“O Come, All Ye Faithful”) . . +++ 182 ‘This set of variations was probably written around 1803 for a Christmas service at St. Peter’s Church in Philadelphia, where the composer served as organist for many years. ‘The piece consists of two variations that frame an ingenious middle section that moves through a number of different keys with frequent changes of register and dynamics. Subtle use of the damper pedal can be effective. Form: Theme = measures 1-29; transition = 29-36; Variation I = 37-56; Variation II = 57-76; coda = 77-84.‘THOMAS “FATS” WALLER (1904-1943) and ED KIRKEBY (1891-1978) “Fats” Waller was an American pianist and composer who was greatly influenced by player piano and nickelodeon pianists. He began making piano rolls and recordings early in his career, as well as composing music for Broadway revues. As a jazz pianist, he was a leading exponent of “stride piano” playing, with a delicate and light touch. “Stride piano” is characterized by the striding movement of the left hand, which plays a steady bass of tenths or even larger chords, often with a delayed effect on the second note. Ed Kirkeby was a bandleader as well as Waller's manager. All That Meat and No Potatoes........... .186 ‘This editor remembers playing this fun piece by ear asa teenager! Arpeggiate the tenths if you can’t reach them. Form: Introduction = measures 14; A = 5-20; B = 21-28; A = 29-36; coda = 37-38. ‘The Jitterbug Waltz oe 193 ‘This piece was composed in 1942 at the height of the terbug dance craze. The jitterbug involved fast, acrobatic movements done to swing music. The most energetic form was known as the “lindy hop.” Form: Introduction = measures 1-4; A = 5-20; B = 21-36; A = 37-52; B = 53-68; C = 68-84; A = 85- 100; B = 101-113; coda = 113-116, THOMAS “BLIND TOM” WIGGINS (1849- 1908) ‘Thomas Wiggins was born into slavery in Columbus, Georgia. He was later sold, along with his mother, to a Colonel Bethune. Blind from birth, ‘Tom startled everyone by playing music on the piano he had heard others perform. He did not study piano formally, but soon developed a large repertoire consisting of thousands of classical and popular pieces, as well as his own compositions. His owner-guardian presented hhim in recital in Savannah, Georgia in 1858 and soon thereafter he was making virtuoso tours of the United States and Europe. Battle of Manassas .... «202 ‘The battles of Bull Run, called Manassas by the Confederates, were fought at Manassas, Virginia on July 21, 1861 and August 29 and 30, 1862. This piece was composed in 1866 and includes popular tunes and patriotic pieces of the day. Form: Introduction = measures 1-8; A = 8-29; 29-62; C = 62-78; transition = 79-88; D = 88-109; E, = 109-135; F= 135-169; G = 169-177; H = 177-214; coda = 214-225. MARY LOU WILLIAMS (1910-1981) ‘This jazz pianist, composer and arranger began her career in Kansas City with Andy Kirk’s band. She subsequently worked with Benny Goodman, Duke Ellington and others. She was an important swing pianist who emphasized stride and boogie-woogie basspatterns. Williams was alsoa composer ofsacred works. In 1977 she was named artist-in-residence at Duke University. The Duke and the Count. . +198 Composed in 1944, the title refers to Duke Ellington (1899-1974) and Count Basie (1904-1984). Keep the left-hand boogie bass steady and supportive of the right-hand melody. Form: Introduction = measures 14; A = 5-21; B 22-36; C = 37-44; D = 44-52; E = 53-62; cod: 62-69, 5Fiddle-Faddle Leroy Anderson (1908-1975) Agro vvace (d= 16 f © Composer's metronome indication.AS Sa T312321 ‘morendo22 Jazz Pizzicato Leroy Anderson (1908-1975) Moderately bright (J =ca. 56) 4 fpara a 2 23 SS BOG 73 23Sleigh Ride Leroy Anderson (1908-1975) Allegro con ritmo (J= 108) @ ® Composer's metronome indication.27tl eA oF yh atl29TegatoIm. i. Ie.34 The Syncopated Clock Moderately (d= 132)@ fe mf (clock imitation) 2 © Composer's metronome indication, Leroy Anderson (1908-1975)37Over the Rainbow Lyrics by E.Y. Harburg (1898-1981) Music by Harold Arlen (1905-1986) Moderately (d= ca. 44) Arr. George ShearingPp lightly sempre stace.(a a as ' 7 3 = SSeS _— EE | | aa = mm fal «7 Se —_= rite dim.41 Nola Felix Arndt (1889-1918) Lightly (d= ca. 72) P424Bva4748 Love Song Samuel Barber (1910-1981) Allegretto (d= ca. 96) . mi aaa *49 Barcarolle Amy Beach (1867-1944) Op. 28, No. 1 Andantino (d.= ca. 46) . ——— cantabile a @® Pedal indications are by the composer.espressivoPoco plit mosso (4. = a. 56) dime rit, -)sempre con Pedale 2 sempre crese. e accelerando £‘a tempo ma ben tranquillo con molto espressione aad smorzando << Le 3] Tempo d.=cx.46) a,54con due Pedale (with una corde and damper pedals)In a Mist Bix Beiderbecke (1903-1931) Arr. Mary Lou Williams (1910-1981) Moderately slow (4 = ca 48) 337i Pr a gliss 2 lis D Ht I See12th Street Rag Euday L. Bowman (1887-1949) Lively (dea, 72)6061026364 Blue Rondo a la Turk Dave Brubeck (b. 1920) Lively, 4.~ 12665666768 re res men ee re ee @ Sina notes are optional6970 1st Improvisation 4 Hl . s— mf 2nd improvisationrzrea 2 re reo 1A,74 Yankee Doodle (Arranged as a Rondo) Reese Benjamin Carr (1768-1831) _ ES (PGS. @ Play this pice in the following order: first ime, pay through measure 4; retur othe ® sigh and play through measure 27; skip to the MINORE and play through measure 104; last time, retum to the $§ sign and play through measure 27 (Fine). o a=a cat d Pine Gnd time to SD Snixoney SP ee = : 2am thes& (DS. al Fine) 12a 1 1 12 ae MINORE7 @ AD eae Gee [too] (DS. a Fine)On Bended Knees (Nobody Knows the Trouble I've Seen) Harry T. Burleigh (1866-1949) Andante con gran espressione (4. = 40) amp _| la melodia ben marcatoHH] Reena =)80 Bi] Largemeate § .81 Kitten on the Keys Zex Confrey (1895-1971) Allegro moderato (d =a. 152) (sempre staccato)(sempre staccato)8486 The Cat and the Mouse “Scherzo Humoristique” Aaron Copland (1900-1990) long > Moderately ae p—|nf oe oo Very fast and rhythmic (/=112) 5 & = P without pedal Le] Abit stowerd~ 108)A tempo (¢= 112) 7 For rrsro vase ase long Still faster = 126) a ® Thumb glissando88 short Very much slower (d= 84) Pp hold back a tae ——o = PP Chives (echo) una corda ® Tre unconnected “tes” indicate that the notes should continue to ring,89 o Pp delicately “pecorde = = s a a a ; ; ; derlimes nieve Very fast (d= 126) a ‘molto erese. 2 sfep o ae without pedal& d=) 12) : vaOL d-6) softly, in a ‘finer manner 7 jane as = oe Timping slighay 4 & ng? 49 4 gp 4 8 tf ag: bd tb Gd PPP| FF (up sos. ped.)92 Nathaniel Dett (1882-1943) nom legato B— ste @ Fingorngs ae the composer's © : = © Pedal indications are the composer's93 ee oo = > eae miomiogin, cata) z95 nom legato cresc, poco a poco] sempre stace. 4 4 : 7 gaio mort gay) wl ) 1a over96 Do Nothin’ Till You Hear from Me Music by Duke Ellington (1899-1974) Lyrics by Bob Russell (1914-1970) Arr. Duke Ellington Moderately stow (=) J) nf7 54298 Don’t Get Around Much Anymore Music by Duke Ellington (1899-1974) Lyrics by Bob Russell (1914-1970) ‘Arr. Duke Ellington stow (09-3 Dy nf2 M1Dizzy Fingers Zex Confrey (1895-1971) Presto (d~ ca. 138)101102103104105 B106107 Medley—Campfire on the Ice Ross Lee Finney (1906-1997) (Adagio) J = 50 | _ Faster 4 = 92 (Allegretto) 21 $ r a \ oF ‘ AA A us108 (Allegro) 4 = 120 ‘$00 Pa Faster, J=92 5109 Slower, J =40 oy mp bring out melodies in upper and middle voices a? P sy Slow and sustained110 Old Folks at Home (Way Down Upon the Swanee River) Stephen Foster (1826-1864) ‘Moderato (Ja. 126) ed » ez Lada © Dynamics are editorial.ut Variation 1 Bl i att f mf (staccato) [i Variation 2 (4. =ca. 80) 3 3 mf412Variation 3 (4 = ca. 138) Bea--- nf (taccato)14 The Man I Love Music and Lyrics by George Gershwin (1898-1937) and Ira Gershwin (1896-1983) Slow and in a singing style (¢ = ca. 66)1syall7118 Prelude (Novelette in Fourths) George Gershwin (1898-1937)mm oatme =| a Allegretto7121 Hatempo : fre — 14. 8 cee - we 7" Owe tte iG tn ‘morendo t122 Prelude II (Blue Lullaby) George Gershwin (1898-1937) Andante con moto € poco rubato (¢ = 88) 4 P legato, 1a oot 7 Cy siiee ral 123124 a Largamente con moto @ ‘Tempo T )~ (rit) ott ee 125126 Swanee ‘Words by Irving Caesar (1895-1996) Spirited des.) ‘Music by George Gershwin (1898-1937) Yon128 Columbia (Caprice Americaine on “My Old Kentucky Home”) Louis Moreau Gottschalk (1829-1869) Allegro moderato (4 = a. 128) anf! stace.it basso gracioso __ eegante grasioso & _elegante129 a elegant misterioso ‘marcato il canto (bring out the melody) ben marcato ma simplice (fey melo bt pe)pp misterioso legato it canto Eat aesa Be. deticatoBl legante brilliance den conten a. “gracioso ‘marcato i basso133, con fuoco e rapido134 stace, l'accomp. (Staccato accompaniment) ben canto delicato135 3 “stent canto (ei te my Paccomp. sempre stace. piu fe agitato S eaitata136 ee | senza rall. If brill. con fuoco i) elegante simplice ben cantato137 a ‘ 4 espress. ff briliantepp ‘appassionaro139) en ster, itso tuta forza ooserou at forcfa) LM VergamenePavanne (from Symphonette No. 2) Morton Gould (1913-1996) Alllegrettto (d= ca. 132) (sempre stace.)1413 sing out = p © Fingerings in measures 36-37 are the composer's.143,145146 Boogie Woogie Etude ‘Morton Gould (1913-1996) Fastriving tempo (J 179 Seely and hard throughout gyg=——— = =~ e Af crisply = ze © Composers metronome marking147 7 simile148,149 3 Bit om eee ao ee re Sf crese oo e neal— a : 3 ee ------ — ae ee eee eo z> See Ste =e ee ee &] Sf dim, Pp — 1} ce Te <¢ > A mp | |195 @ Stik sere, ae196197198 The Duke and the Count Mary Lou Williams (1910-1981) Medusa tempo (d~ca. 66) 53-J nf200201 Bees pias rn . a 2 soe @ —3:% --3s— 3202 Battle of Manassas ‘Thomas “Blind Tom” Wiggins (1849-1908) Moderato («= ca. 92) The Southern army leaving home to the tune of “The Girt I Left Behind Me" (P) Drums increase very slowly203, F se 3 i rrr cry leaving Washington ' 5 deyrepeat increasing to ffAdagio (4 =ca. 96) The eve of batle The noise of arms and accoutrements 4 7 4 & 2 2 24 crese. (poco a poco) x206 ff eee Gen. Beauregard’s trumpets (dca. 116) Gen. McDowell's rumpets in the distance & = 7 © © The cannon is played by striking as many notes as posible with the left hand, Use the flat ofthe hand, striking the bass of the piano with as much force as possible.(d= ca.116) fra Fijes Aff “Yankee Doodte” heard through the nose of batle and cannon208 i] “The Marseillaise”209 “Star-Spangled Banner” (d=ca. 126)(J-ea 112) eta arrive under Gen. Kirby Smith e © hc an a ha | hc cha ca ch, ch ch | ch hc bh het ch | heh ch ch oa chi ha ch cach ha ha ch ch | a ch cha ch ch ch arch | ch ch lt ob ch hi oh | ch cha ci ch hu ch ca @® The “chu, chu” and “whistle” indieations (imitating the noise ofthe train) are optional “The composer originally made these sounds with his mouth when performing the piece.2uL (deca. 132) The battle rages more furiously a 2—1—](d= ca. 126) The retreat (as fast as possible)