Songs I Love to Play: Volume 2
Songs I Love to Play Volume 2 features fun and motivating solos for early intermediates of all ages. Recital ready arrangements of popular themes and original compositions by Piano Pronto author Jennifer Eklund. This book contains selections for the NFMC Festivals Bulletin, 2020-2024.
Gold Rush Rags
While the ragtime genre really did not exist during the California Gold Rush, this collection of evocative ragtime solos by Barbara Becker, offers a musical glimpse into that wild time as San Francisco appeared and then boomed with activity. Picture a gentle dance late at night in a saloon; the joyous hope and the frequent disappointment associated with prospecting for gold; Lola Montez’s moaning about some so-and-so who did her wrong; “Mr. Moneybags” John Sutter preening in the city; and tired miners drowning their sorrows on Saturday night, then shuffling off to bed. These fun pieces fit right in with the period’s expectations of instant wealth, juxtaposed against the back-breaking work, often for little return.
Double Takes is a set of seven pairs of Rags and Blues, composed by Joanne Griffiths, and inspired by J.S.Bach’s Preludes and Fugues. Each pair is a study in contrasting styles, mood, rhythm, tempo, articulation, dynamic range and textures.
The collection progresses up the keyboard, through a range of keys beginning on C and ending with B, and covers many pedagogical techniques for an intermediate pianist whilst still remaining engaging and fun.
Party Time Rag
Party Time Rag is an upbeat ragtime-style showcase solo for one hand and noisemaker by Chrissy Ricker ideal for late beginners of all ages. This piece can be played with either the right or left hand. This piece has been selected for the NFMC Festivals Bulletin, 2020-2024.
July is a ragtime solo for intermediate pianists composed by Sarah Reaser O’Brien.It is ideal study material for those who would enjoy historical rags but need a more manageable arrangement and hand span than those typically offer. There is syncopation throughout all of the three principle melodies with a steady quarter note accompaniment in the left hand for the majority of the piece.