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CELEBRATION SERIES@

THE PIANO ODYSSEY@

PIANO

STUDIES / ETUDES

© Copyright 2001 The Frederick Harris Music Co., Limited


All Rights Reserved

ISBN 0-88797-709-X

FREDERICK

HARRIS

MUSIC

CELEBRATION SERIES®

THE PIANO ODYSSEY@

The Celebration Series" was originally published in 1987 to international acclaim. In 1994, a second edition
was released and received with heightened enthusiasm. Launched in 2001 and building on the success of
previous editions, the Celebration Series", The Piano Odyssey" takes advantage of the wealth of new repertoire
and the changing interests and needs of teachers.

The series is breathtaking in its scope, presenting a true musical odyssey through the ages and their
respective musical styles. The albums are graded from late elementary to early intermediate (albums
Introductory to 3) through intermediate (albums 4 to 8) to advanced and concert repertoire (albums 9 and
10). Each volume of repertoire comprises a carefully selected grouping of pieces from the Baroque, Classical,
Romantic, and 20th-century style periods. Studies/Etudes albums present compositions especially suited for
building technique as well as musicality relevant to the repertoire of each level. Student Workbooks and
recordings are available to assist in the study and enjoyment of the music. In addition, the comprehensive
Handbook for Teachers is an invaluable pedagogical resource.

A Note on Editing and Performance Practice


Most Baroque and early Classical composers wrote few dynamics, articulation, or other performance
indications in their scores. Interpretation was left up to the performer, with the expectation that the
performance practice was understood. In this edition, therefore, most of the dynamics and tempo indications
in the Baroque and early Classical pieces have been added by the editors. These editorial markings, including
fingering and the execution of ornaments, are intended to be helpful rather than definitive.

The keyboard instruments of the 17th and early 18th centuries lacked the sustaining power of the modern
piano. Consequently, the usual keyboard touch was detached rather than legato. The pianist should assume
that a lightly detached touch is appropriate for Baroque and early Classical music, unless a different
approach is indicated by the style of the music.

Even into the 19th century, composers' scores could vary from copy to copy or edition to edition. Thus, the
editors of the Celebration Series" have also made editorial choices in much of the Classical and Romantic
repertoire presented in the series.

This edition follows the policy that the bar line cancels accidentals. In accordance with current practice,
cautionary accidentals are added only in cases of possible ambiguity.

Teachers and students should refer to the companion guides - the Student Workbooks and the Handbook for
Teachers - for further discussion of style and pedagogical elements. For examination requirements of The
Royal Conservatory of Music, please refer to the current Piano Syllabus.

Dr. Trish Sauerbrei


Editor-in-Chief
Contents

Study no. 1: Bike Ride Sam Raphling 4

Study no. 2: Arabesque, op. 100, no. 2 Johann Friedrich Burgmiiller 5

Study no. 3: Inter-city Stomp Christopher Norton 6

Study no. 4: Minuet Bela Bartok 7

Study no. 5: The Young Shepherd's Song, op. 28, no. 3 Samuil Maikapar 8

Study no. 6: Study in D Minor, op. 261, no. 53 Carl Czerny 9

Study no. 7: Having Fun Daniel Gottlob Turk 10

)(Study no. 8: Two Ants Vladimir Blok 11

Study no. 9: Undaunted, op. 197, no. 7 Cornelius Gurlitt 12

Study no. 10: Chinese Kites Gem Fitch 13

Study no. 11: The Doll Alexandre Tansman 14

Study no. 12: Study in E Minor, op. 32, no. 12 Alexander Gedike 15

Study no. 13: Rush Hour Lorna Paterson 16


4
Study no. 1 Bike Ride

\,/.,

Sam Raphling
(1910 - )
Easy riding J = 168 -184
4 5 4 5,
1\ 1 - I 1 I , 3 1

I
~ -*! ~-*! -*! "*!­ I ~"*!- "*!­ II!"
<
P
.. .:... ~
I .:... I

I ~

1 5

5
4 1
~ 1 3 I I
I

I
1~ II!" -*! ~ -*!-*! --::> ~
>
~

) ~ ::;> ::;>
f ::;> >.:... ~ .
I ··
\
I I I I

5 2 3 3
~ I I I 1
I

~ I ~ > > > ~


1
< P 2

J f j f i f j f i ~
I ··
3

5
1
1 2 4 5, 2
~ I

I '~
1~ -.
--­~ --­~. :>
f
>

J ~
" ..· I I > >

1 5
Studv no. 2 Arabesque

op. 100, no. 2

Johann Friedrich Burgmiiller


(1806 -1874)
Allegro scherzando J = 104 -116 1~
Ii 1 • 1 .....----. ;,­ • .,L~t=r;:

1 @)
J
p
,
1= I: i I:
Pzeggiero
1= 1=
-
1= 1=
cresc.
I I I J'.'~'~ ~-.

~-,.. -~
-
I "
1 simile
3

Ii 3 ~ >­ 5 1 -H­ ~ <, 11..1""'

I \: ,...
l @)
, ..-­ ..-­ .... .....
r I
'; mf
sf "'".,.
=
=~
J J :I: ~ :J: ~
~

I I
1 1 1 1 3 5
2 3 2 2
5 5

,
l ~
5

---­ ,... I
-=--­
• ,.
> 2~ 3
... -..
- ~
1 ~,
, "...

< dim. e poco rall.


1 ~ ~ ~~
r
3 5 3 tJ .
5-
.-/ 2~·~·
3 2 1 .. -';

[12]

"
a tempo
1 I.. 1~ 1~ . ~~~~h
dolce ______
3
I
5
> :::::::::---.. ~

1~ -,
p - cresc. p
,... ....
=
.........

=====­
J 1= i i i ~ ~ I 1= IL
'-
.. '­~ I I !~

L

simile

112.

I
Ii I ~I.. ~~ -- ~
~.,Lf!:.~. ~~~~~
riso uto
5
1':'1
(9-

1 @) - cresc.
f~'. if
<

J
r ,,:
1= 1= 1= 1= ~ ~ I I ~ I - 1':'1
e
l~

6
Study no. 3 Inter-city Stomp

Christopher Norton
(1953 ­ )
Lively J = 144 -160
5 4 3

-.
• 1
11- • • 11- • • II- .... ~ 11- .... _' 1

··
~

,q f&-JUM.5
1
--­
t
mf sempre stacc.
J ·
·
- - - - - - - - - -.
-­ - -­ -­ - -
5 4

• ....2
....• .... .... •
1
2 ,''''' ~.,,"

· r...­
- .J

1
~'~

'--..
\
I
I L~
f
\ r2,·,-' "d"

<;
-----..J
')

••·
I
t
!.
3 • • • • • • • - -
,.

9 I//'~'\\ ""
.L. I

I
II
..I
"""""­
• ,... . """""­
Lf­ """",,-'
"""'"
.J - - -
I

\
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~.
J

I ..I ... = = = ..I .-I

\J~
5
2 4
1
1\ I ~ ~ ~ ~ ~~ iIlIo..
"""" ,
I
..J
I

/ ··
.,
f j
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r .»

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• ... ... • ... ... ... ... -.;.I ~

• ... ... ...


5
2 4

I ""I r.
" I

..I
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.-I
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1.~

---
f\
\
:=,-..,- .­
-- - """""""
. ('i "2 r ( '1/Y it'. . \2/ r'~ 't./
"ll:7

.'..t-"mif; j

J
! J-- , ./ I /" ;/-,rJ,~
f!;- it'- ••
I ·
~.

.- -
\

\
... ... ... • ,

L- --.J
Studv no. -±
Minuet

Bela Bartok
Andante J = 104 -112 (1881-1945)
5 5 5

" .-
1 1 1
I
.it
I
(

J
l ~

.~·o
P grazioso --- :>

>
-
!

1'---
--- :>

I
> I

~ .­ ,
.­ ...;.

- - •


eA

l t. =­
,
:> "':' "':' ~ "':'
~ ~
p
.....
"
J I ",,----. I I

> I I
4 2

~ .it i ~ iL ~

1~ :> =­ ....... :> =­


cresco
J >
/'
I~

I
I > I
I

"
Ii ;. .- . .-
>
4

.-.
3
. .-.
~ ~ I --..,j
"':' ~ "':'
in rilievo*
mf p

••
- -----. ~ iii. ;. .-
>
...;. .it
I"" I""
• •
I 1 1 -1
1 5 5
5

. .
4 4 4 5

"
2
.-. .-. .-.
1-
2
.-
1
...;.

~ ...... "':' -

~
;. iL ;.
f-­ .-
>
.­ ~
J u. I

I •.
* well marked
Source: The First Term at the Piano (1913)

© Copyright 1929 Roszavolgyi & Co., Budapest. Copyright assigned 1950 to Editio Musica Budapest.

Rpnrinh,rl h" npr",i""inn (LQQ7Q7 _7nQ_ Y I n7

8
Study no. 5 The Young Shepherd's Song
op. 28, no. 3
Samuil Maikapar
Allegro non troppo J = 84 -100 (1867 - 1938)
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ­
4

.
4

1____..
I\,j,j. - ---­
" ~
· ·
- • ~
....... I

1 1 1 1
3 2 5 3

5 2 3 5
I\,j,j. 31 1 1 1

I
~ ~
@.J
~

··
..­ .­ ~ /"'" ~ .-~
I
2 1 2
4 3 4
5
a tempo
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1

mp

4
9
Study no. 6 Study in 0 Minor
op. 261, no. 53

.~ ..
1 I Carl Czerny
(1791 - 1857)
Allegro J = 84 - 96
4
m.d.J~~,

[ I r: L ~

5
10
Study no. 7 jHaving Fun
j

Daniel Gottlob Turk


(1756 -1813)
Allegro J = 66 - 76
~ I _.~•
~
4 2
-:::­

d - r
mp P
/I. I

@.J _? 5
1 1 1 2 3

-
1 3 ?
2
4 3 5 ~ 2 1 2 5 1 5 3 2 1
/I. I

If

tJ
h.

f
I'

.• -
til
,- :;j ":;j ~'
10.

/I. I
• ~ r---.-.
I If h.
... ,... .
tJ I 1 2 -4 1 5 2 • tJ

2 1 314 3 1 5 4

5 5 5
,. 5

,} I

~
"
I i.fL~~fL~.
1 2 1 ~l 3 1 1Il-2~i." 1
-
Ill- 3

-
r
f
J . ~ ~ #­ •
I • i
r-
-
V
--...
4
11
Study no. 8 Two Ants
Vladimir Blok
(1932 -1996)
piu mosso
Allegretto J =108 -120 5

~~~
2

\ 4
• ~~ .
"
,; r_ ...

~
p leggiero mf
" ~ ~ I ~ ...
I ~ Ii.I --.;r e; i,;'

.. -
4
1

4 1

l
~
5

-=
~
a tempo 1
• ~~ .
~.

1~ p
}"
I
.it .u..:. •
--.;r Ii

\ ~ 1 - v- v­
5

piu mosso
~
~ ~~t ~
12
t ~~
"
~

,., ~
f #~ ~~ tt• .u..:.

~
l' •
@J 1 2
2

5 3 1 > . meno mosso


"
r_ •
~ r
~ -';-1 ~~ 8va -­
,.,
mp rit.
t:\

~
,..
~~ ~
4
5
8va J

~
2
f!:­
~ h:
-, ·
., •

,... ,... tJ

___ J
8va ___ J pp
··
~ T
~'.J
~ -
-
8va J 5 J 111
3 2
8va __ J
Study no. 9 Undaunted

op. 197, no. 7

Cornelius Gurlitt
(1820 -1901)
Allegretto J = 88 -104
4

p grazioso p

5 3 2 3 2

3 2

542

4~_-----:~----_
5

3 2 4 3 3 5 4 2

4 2 323 234 5

~\
~
i261 ~5

,
..
f\ .. '"'.
---
14 --... •
• --­
.- n

- ..
~ poco riten.
mf p
!
.. _ .... --- .... • .... ,. !'- !'- ---!'­ ,. !'­ ,. !'­ --­ ~:l±.. ~b.. n

- - ,
---
2
1.5
Studv no. 10 Chinese Kites

Gem Fitch
(1934 - )
Playfully J = 100 - 112

black key glissando


to top of keyboard
2~' ~

f
poco a poco accel. /"'

~ J J j J ~t
J __ ~ ~I/
~--"'-¥--------,,-------E F E F3 ====- == ~===7 ===~===~
2 2 / .
4----'
4
Study no. 11 The Doll

Alexandre Tansman
(1897 -1986)
Rather quickly J = 92 -100

1 @.l
1'1 2

-
1+._____ ;;
- • - 1+._____ ;;
1 :­

J "","'0
mp
••
1+.~

r • •
••
---­ • • ••
-~

ee
°

1 'J

3 2
5

@]1'1 --------:::::::--.-. 2

I
1 @)
<
~
I
-
-If~_ -If" .. 1f"

J U-I- • • •• • • •• • •
t °

,1 J

@.l
1'1

-
-
1
- I -If"
2 1

-
3 5

I
2
"I!!!!!!!!I

= -====
<
J
I
""'' ': ••
r-I r­
ee U-I­ • • ~. . ~ ~

-.J

, fl I ~
5
. _.3 4 4
°
4
3
1 4 5
2
1 2

.
1 @.l
<
- Iiiiiiiiil ~ .......
- -If"

J 1'1 ~ ~ .. •
f
.J ~~ ~ • • . . .. 1Il

542 5
1
~ 1 1

1• -If" .. • 1f" <:» - - -- 1f­ ~- -6

P ::::=:::=- --==-= raZI.


), •• •• •• •• •• ~ ~ i'.
I
II .
15
Studv no. 12 Study in E Minor

op. 32, no. 12

Alexander Gedike
Moderato quasi andantino J = 80 - 88 (1877 -1957)
5 5
3 2

i5~

4
5 2
I 1\ ~ 51 2 1 2 3~1

I ~ ~

} @) rz - - =­ - - =­ - =­ - - V mf T V
mf dim. -
j . i­ ~~-i- I.~-i- .R II I r=:i
I .
I
1 2 1 2 I
5~
14 2
3 4 -,

I\~ 3~~1
4
3~~3
4
3~ri1 ~
- 4
3~

I
1~ I ---' I
- I r I

- !---I
cresco poco a poco f
.
<
J 11 ____
3r===i ­F5 I
I
t--- I


11
". I 21
o!'I'_

I- I 2 13 12 2
------- - - -
3----------=-­ 7

~ ~ ~ ~ 3~ !
3.
1~ .~
-
51 2 1 1
o!'I'

• I• ~

1@) ~
;;;;;;;;;;;;;;;
~ i - - - - V
~
2 12
5 1 - P poco rit.
­ mf dim.
J 5 i­ ~-i- I.~-i- •
/ ...

Source: Melodic Etudes


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