01 |

Little Prelude in C Major, BWV 933

J.S.Bach

02 |

La Joyeuse Suite in D Major, RCT 3

Rameau

03 |

Allegro non tanto, Sonatina Op. 20 no. 1, 1st movement

Dussek

04 |

L'Hirondelle

Daquin

05 |

Vivace, Sonatina Op. 55 no. 1, 2nd movement

Kuhlau

06 |

Rondo, Sonatina Op. 36 no. 4, 3rd movement

Clementi

07 |

First Loss, Album for the Young, Op. 68 no. 16

Schumann

08 |

Elfin Dance, Lyric Pieces, Op. 12 no. 4

Grieg

09 |

Mazurka, Album for the Young, Op. 39 no. 11

Tchaikovsky

10 |

To a Wild Rose, Woodland Sketches, Op. 51 no. 1

Macdowell

11 |

Tarantella, Six Short Pieces, Op. 48 no. 6

Guilmant

12 |

Cantabile for piano in B flat major, B. 84

Chopin

13 |

Polka, Dances Of The Dolls

Shostakovich

14 |

Promenade, Music for Children, Op. 65 no. 2

Prokofiev

15 |

Dance of String, Paintings of Bashu no. 4 弦子舞, 巴蜀之畫, 第四首

Huwei Huang 黄虎威

16 |

The Grassland Love Song, Seven piano pieces from the Inner Mongolia Folk Song Theme, no.4 草原情歌, 內蒙古民歌主題鋼琴小曲七首, 第四首

Tong Sang 桑桐

17 |

Two Gossiping Old Women

Khachaturian

18 |

Toccatina, Op. 27 no. 12

Kabalevsky

19 |

When You Wish Upon A Star from "Jim Brickman The Disney Songbook"

Keigh Harline Arranged by Jim Brickman

20 |

Always With Me from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō

21 |

Invention no. 13 in A Minor, BWV 784

J.S.Bach

Portray the somber character in a minor tonality This invention imitates the style of an Allemande, which maintains a steadily flowing tempo of 72-88 to the crotchet. The two voices frequently interact in a dialogue fashion. Waves of crescendo and diminuendo can enhance their individuality. In a fluid motion, the quavers can be played with a detached articulation. Avoid any excessively abrupt staccato attacks.

22 |

Presto, Sonatina Op. 36 no. 5. 1st movement

Clementi

A showcase of virtuosity The Presto tempo demands a rapidly flowing momentum, in the style of perpetual motion. All grace notes in the melody should be played with a crisp attack, with the two notes sounding almost together. The technique for playing triplet figurations in the accompaniment needs to combine finger movements and wrist rotation, albeit in a small degree.

23 |

Allegretto, Sonatina Op. 55 no. 2, 1st movement

Kuhlau

Lyrical melodies and legato playing Imitating the vocal line requires an understanding of phrasing. Analyze the breathing locations and then plan the necessary waves of dynamics. The right hand must project, but never produce harsh sounds. The ideal tone color is full and rounded. The finale utilizes a good amount of scale-like materials. The fingering should correspond to the respective key and hand positions.

24 |

Sonata in A major, K. 322

Scarlatti

A predecessor to the classical sonata A spirited character is created by an uplifting duple meter, in a fast tempo above 92. The homophonic texture requires the top melody to be eloquently projected at all times. Contrasts in dynamics and shifts in tonality can affect the character of the music. The cheerful feeling at the opening becomes sorrowful by the middle section.

25 |

Allegro ma non troppo, Sonata in G major, Op. 49 no. 2, 1st movement

Beethoven

Developing a sense of orchestral thinking The dynamic contrasts can be a reflection of orchestration, where “forte” and “piano” can respectively mimic “tutti” and “solo”. There is no need to play either movements in an excessively fast tempo. A comfortably flowing speed is more suitable for the dignified elegance of the music. Phrasing must be clearly understood and executed. Subtle crescendo and diminuendo can help demonstrate the directions.

26 |

Moderato Cantabile, Sonatina in F major, Op. 168 no. 1, 1st movement

Diabelli

27 |

Prelude in B minor, Op. 28 no. 6

Chopin

Imitating the beautiful sound of the cello The left hand melody should be played with a full projecting tone, whereas the right hand accompaniment remains in the background. The melody is comprised of irregular phrasing. A suitable amount of dynamic wave should be applied to each slur. Rubato is an expressive feature applicable to every phrase in this work. The amount of freedom can be determined by the emotional intensity.

28 |

Waltz, Children's Album, Op. 39 no. 9

Tchaikovsky

A spirited waltz set in ternary form The tempo of “Vivace” is highly energetic. A feeling of one beat per bar can enhance the flow and lyricism of the music. According to the unusual placement of the slurs, coordination between the hands can be tricky. Initial slow practice is strongly beneficial. The middle section in C minor contains repeated chords in the left hand that are rugged and raw.

29 |

Venetian Boat Song, Song Without Words, Op. 19 no. 6

Mendelssohn

A sorrowful song with a challenge in voicing The marking “Andante” suggests a moderate tempo, and the duple setting imitates the slow rolling motion of the paddles The chordal accompaniment can easily overpower the melody. To ensure proper balance, the right hand is required to play with a penetrating tone. To provide a sonorous tone and ensure better connection, the pedal can be used throughout the work, and changing at least twice in every bar.

30 |

Waltz, Lyric Pieces, Op. 12 no. 2

Grieg

Folk elements embedded in a waltz setting When playing a dance-inspired work, it is necessary to study all articulations in detail, and imagine the jumping, landing, and spinning motions in the choreography. The use of pedal should be limited to enhancement of harmony. An excessive amount will not only blur the melody, but diminish the effects of staccato. In the middle section, an elegant and lyrical melody is played by the left hand, while the right hand gently provides the accompaniment with a light touch.

31 |

Happy Farmer, Album for the Young, Op. 68 no. 10

Schumann

A challenge in the syncopated accompaniment The tempo is fast, full of energy with an uplifting spirit. The melodic shape should be matched by the appropriate crescendo and diminuendo. In the accompaniment, the quaver rests have a strong rhythmic impulse, and can effectively enhance the feeling of syncopation.

32 |

Waltz Sentimentale, Op. 50 no. 13, D 779

Schubert

An elegant approach to the popular dance Many of Schubert’s waltzes display a sense of nobility and elegance, rather than mere athleticism. The use of slurs, accents, and rests are indications of the choreography, which mimic stepping, landing, and jumping motions. There is no need to play this waltz excessively fast. A moderate speed will suffice.

33 |

Game, Mikrokosmos, Sz. 107 no. 105

Bartók

An experience in bi-tonality The left hand playing the black keys should be positioned on top. The right hand fingers can be flattened to create a comfortable space for easier coordination. The opening phrase is set in a two-voice polyphony, therefore each hand can be shaped individually. When playing in contrary motion, the fingering can be symmetrical among the two hands.

34 |

Sonatina, Op. 27 no. 18

Kabalevsky

Dotted rhythm in a march-like character A strong sense of pulse must be steadily maintained throughout the work, even during the rests. The integrity of dotted rhythm can easily loosen and begin to sound like triplets. The semiquavers must keep their tightness, otherwise the overall effect will be compromised. The crisp attack of the chordal accompaniment can easily overpower the melody. The right hand is required to play with a bright tone.

35 |

He The Shepherd Boy Piccolo 牧童短笛

Luting 賀綠汀

The interaction of two voices The opening section engages in a two-voice polyphony similar to the two part inventions from the Baroque period. The voices should be individually shaped. The long slurs mark the various phrase lengths, under which the notes should be played legato with some overlapping of fingers. In the middle section “Vivace”, all mordents in the right hand should be played on-the-beat (not before the beat). Both hands require very clean articulation, and be rhythmically precise.

36 |

The Red Head Rope 紅頭繩

Jing Jiang 江靜

Unique sonorities of traditional Chinese folk music The first section should portray a joyous atmosphere, with the left hand playing a staccato accompaniment and the right hand projecting a legato melody. The middle section is decidedly more lyrical, but it is necessary to distinguish the contrasting tone color between the melody and accompaniment, even when they switch between the hands. It is stylistically suitable to add waves of dynamics according to the shape of the melody.

37 |

Con moto, For Children, Sz. 42 no. 35

Bartók

Shifting time signature The music constantly switches between 4/4, 3/4, and 2/4. It is crucial to keep a steady crotchet beat throughout the work. The contrasting characters of quadruple and triple meters may suggest two types of dances: bourree and waltz. The use of pedal should be limited to legato chords only; do not blur the staccato effects.

38 |

Beans, Eight Memories in Watercolor, no.2 逗, 八幅水彩畫的回憶, 第二

Dun Tan 譚盾

39 |

The Bare Necessities from "Piano Score Book Volume 2 Adventurous Collection"

Terry Gilkyson Arranged be Lily Hong

40 |

My Neighbor Totoro from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō