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welcome Carlos88 - glad you could join us!

Here's the latest list:

OPUS 12
No. 1, Arietta :;;;; AIMEEO.
No. 2, Vals (Waltz):;;;SARANOYYA.
No. 3, Vektersang (Watchman's song, after Macbeth):;;;CASINITALY.
No. 4, Alfedans (Elves' dance);;;;; LADYCHEN
No. 5, Folkevise (Popular melody):;;; ANDY PLATT.
No. 6, Norsk (Norwegian melod
No. 7, Albumblad (Albumleaf)
No. 8, Fedrelandssang (National song)


Book II, Op. 38 (composed 1883 except where noted; published 1883):

No. 1, Berceuse
No. 2, Folkevise (Folk-song)::::WAYNE33YRS
No. 3, Melodi (Melody)::: SWISSMS
No. 4, Halling (Dance)
No. 5, Springdans (Spring dance)[1]
No. 6, Elegi (Elegy);;;:RECAREDO.
No. 7, Vals (Waltz, originally composed 1866; revised 1883)
No. 8, Kanon (Canon, composed ca. 1877-8?; revised 1883)



Book III, Op. 43 (composed probably 1886; published 1886; ded. Isidor Seiss):

No. 1, Sommerfugl (Butterfly) ;;;;:BERIC.
No. 2, Ensom vandrer (Solitary traveller)
No. 3, I hjemmet (In my homeland):::ALLARD
No. 4, Liten fugl (Little bird)
No. 5, Erotikk (Erotikon);;;;: PETERWS
No. 6, Til våren (To spring)


Book IV, Op. 47 (composed 1886-8 except where noted; published 1888):

No. 1, Valse-Impromptu
No. 2, Albumblad (Albumleaf)
No. 3, Melodi (Melody);;;;IRENE ADLER
No. 4, Halling;; CARLOS88
No. 5, Melankoli (Melancholy):STUMBLER
No. 6, Springtanz (Spring dance,[1] composed 1872?; revised 1888)
No. 7, Elegi (Elegy)


Book V, Op. 54 (composed 1889-91; published 1891; Nos. 1-4 later orchestrated as Lyric Suite):

No. 1, Gjetergutt (Shepherd's boy)
No. 2, Gangar (Norwegian march)ZRTF90
No. 3, Trolltog (March of the Dwarfs);;;; Rossy: oh deary me what have I done?
No. 4, Notturno :;;; DIPSEY.
No. 5, Scherzo
No. 6, Klokkeklang (Bell ringing):;;; SINOPHILIA.


Book VI, Op. 57 (composed 1890?-3; published 1893):

No. 1, Svundne dager (Vanished days)
No. 2, Gade ;;;;;;SAMS.
No. 3, Illusjon (Illusion)pianostudent88
No. 4, Geheimniss (Secret)
No. 5, Sie tanzt (She dances)
No. 6, Heimweh (Homesickness):::RAGNHILDK.


Book VII, Op. 62 (composed 1893?-5; published 1895):

No. 1, Sylfide (Sylph)
No. 2, Takk (Gratitude)
No. 3, Fransk serenade (French serenade)
No. 4, Bekken (Brooklet)
No. 5, Drømmesyn (Phantom): PAVEL.K
No. 6, Hjemad (Homeward): DIRE TONIC.


Book VIII, Op. 65 (composed 1896; published 1897):

No. 1, Fra ungdomsdagene (From early years):;; MORODIENE.
No. 2, Bondens sang (Peasant's song);;;;:WISEBUFF
No. 3, Tungsinn (Melancholy)
No. 4, Salong (Salon)
No. 5, I balladetone (Ballad);;;;:RUPAK.
No. 6, Bryllupsdag på Troldhaugen (Wedding Day at Troldhaugen):;; GANDDALF.


Book IX, Op. 68 (composed 1898-9; published 1899; Nos. 4 and 5 were orchestrated in 1899):

No. 1, Matrosenes oppsang (Sailor's song):::::ElleC
No. 2, Bestemors menuet (Grandmother's minuet)
No. 3, For dine føtter (At your feet)
No. 4, Aften på højfjellet (Evening in the mountains): LIMEFRIDAY
No. 5, Bådnlåt (At the cradle)
No. 6, Valse mélancolique (Melancholy waltz)


Book X, Op. 71 (composed and published 1901):

No. 1, Det var engang (Once upon a time)
No. 2, Sommeraften (Summer's eve)
No. 3, Småtroll (Puck);;;;;;:FARMGIRL
No. 4, Skogstillhet (Peace in the woods);;;;;;:VALENCIA.
No. 5, Halling
No. 6, Forbi (Gone)Keystring
No. 7, Etterklang (Remembrances);;;;;;:DYNOMOBT.



And if they are not taken by others , then we have second choices of:

Valencia (57.1)
Saranoya (12.7)
Limefriday (71.1)
Dipsey ( 47.3)
Ladychen (38.4)
Peterws (47.6)
SamS (71.3)
Beric (43.6)
SwissMS (47.7)
Dire tonic (68.3)
FARMGIRL (71.2)

Well, I learned that the name of my piece, 57/2 "Gade", is not a Norwegian word, but the actual name of Niels Gade, a Danish composer, conductor, violinist, organist and teacher. He is considered the most important Danish musician of his day (according to wikipedia). He was also one of Grieg's teachers.

My piece is also one that my teacher plays for weddings - she played it for me, so I have an idea what to expect.

But that is as far as I have gotten!

Sam

I have started on Melody (38 3) and it is going pretty well. I discovered the 3's against 4's and the 9ths on the first read through and realized it wasn't quite as easy as I thought. Since it is slow, the polyrhythms need to be very even. That is going to take a little work. I really liked this piece though! I haven't started the second piece, Elegy (47 7) yet.

I know how you feel - cos I've also got threes against twos with my piece (nocturne op 54, 4) and many of the twos are tied, which further complicates it. Apparently it helps to tap out the rhythms (on different sounding surfaces) of each hand together until embedded, then transfer to the keyboard. Will have to try that, though its hard for me to not just charge ahead.

Beric bought us a copy of the complete set (over 200 pages of music) - from 'Schirmer's library of musical classics' excellent value at £15. I've been having fun attempting to sightread a few - but I find that the quicksilver shifts in harmony are v difficult to anticipate and generally catch me out!

Mine ain`t going so bad at the moment. But it takes so long to get it to "performance" (I use the term lightly ha ha) level. I do have a You tube vid of a real expert at work. So I have something to aim for. Apart from the Steinway he`s playing that is . . . .

You probably know this already, but 3 and against 2 is "not di-fi-cult". Say that out loud, over and over. Tap left hand on "not" and "fi", right hand on "not", "di", "cult". 3 against 2!

Sam

In fact, it might be easier to ignore the ties at first just to get the proper 3 vs. 2 feel, then work on adding the ties back in.

I probably have to record my piece already by the middle of June. I'm going to spend 4 - 6 weeks away from the piano this summer, and August is likely to be very busy with other things.

Fortunately I know the piece, 65/6 "Wedding day" pretty well. I made my first attempts with it already in 1968. At that time I played it very badly, indeed, but since then I have made some improvement. Have to brush up a few details, though.....

wow ganddalf you have been working on your piece since 1968? what chance has anyone else got with only till this september!! lol.

So...is anyone else sitting at their desk tapping away saying not. di. fi. cult. ?


****
My book has arrived -- Very pretty
I'm a happy camper

I'll give that a try - thanks SamS and Morodiene.


Cas - thanks for all the comments on the mendelssohn - the feedback was very encouraging to read.

Dipsy- my pleasure to give feedback. I think I'm about half way through listening - more to come! It is certainly an even greater pleasure to listen to all the performers. I love the tremendous effort folks put into learning pieces that were very challenging, and the success with which they managed to do so.

I've been reading the last few posts, and looking at the scores in my new book --- I think I'm going to flag it with post it notes so that I can easily find what the others are talking about. Great fun.

Not necessarily, at least not with the durations that I naturally give the syllables. I tend to come out with an eighth note followed by triplet sixteenths.

For me, I have to already know how 2 against 3 sounds to give "not difficult" the right rhythm.

My attempts at 2 against 3 are to count a quick 1-2-3 for the beat or beats that has the three. Then count 1-2-&-3, and the second note of the duplet comes on &:

For the 2 in RH and the 3 in LH:

If you need all the "&'s", that's

Once I understand what the rhythm is, then using the phrase "not difficult" might be helpful. But if I already understand the rhythm well enough to say "not difficult" in the correct rhythm, then I've gone a long way towards internalizing the rhythm and may not need the words at all.

Please include me in the book addict club! It's really rather ridiculous around here. Musically, I'm always snapping up deals (like the Scarlatti, Brahms, Satie, Chopin collections I can't play, or the 4-for-3 deals), or things I just get fixated on, whether I can play them or not. The local orchestra is having their annual book fair next week, so I know I am in for trouble! And as far as regular books, between me and BillyO - our bookshelves are overflowing, and there are piles of books on the floor in every room. And I'm getting another shipment today.

Back to Grieg! Started on mine. I am trying to go very very slowly.. my pinky has to play over everything else! Should be interesting to see how it pans out. No tricky timing, really, so I'm safe there. But it is a new challenge, and I'm rather excited about it.

Good for you that this is not a competition

not ..... fi
not dif .....cult

not ..... fi
not dif ......cult


not .... fi
not dif ...... cult

yes it is! (at the moment at any rate). I need a calmer mind to focus for this.
The weather here (sun, showers and a gusty breeze) keeps changing, and every time the sun peeps out it feels like I should go outside

Hello all Not been around for a while, been real busy. Struggling with my chosen piece, not sure if I can do this lol.

And now I have a non sounding key, (well it does if I hit it lol) Anyways, off to make a new thread, see if I can get some help, laters folks

Ganddalf - wow since 1968! I'm so looking forward to listening to it. It is my second favorite after Butterfly.

I'm waiting for my book to be delivered next week but tried the version downloaded off the Internet this morning. Both Puck and Summer's Eve weren't so bad. I need to bring out a child within me to play Puck:) to play it well. My goal is to play Puck rythimically correct and all the articulations etc which will bring out the energy & movement within the piece. Summer's eve is totally different. I will have lots of fun with plenty of rubato.

I do have questions for those folks who already got the books. In measure 16 of Puck, the last note C does not have natural sign on it but after the whole measure rest in measure 18, C has flat on it. I played measure 16 both ways, with and without flat. IMHO it sounds better to play without flat first time and add flat back on in measure 18. Similar pattern comes back later in the piece. I'm not count the measures for that. I think it is a printing mistake. So I will play it with what I think it right until I know which is the right way.

In bar 16, the flat for the C is just in the key signature, then there is a one bar rest, and in bar 18 the 3rd note is a C (actually 2 ...C3 and C4) both of which are marked flat. I don't see why it is marked, as there is no natural sign.... they should just all be flats, shouldn't they?

I've never played a piece in a key with six flats! ... I don't even know off the top of my head which key it is!...(Ok, I had to count round the circle of 4ths on my fingers. Gflat ! lol)

Remembrances Op 71 no 7 is coming right along. Granted, I picked early, so was able to get an easy one. But I'm discovering there is a lot more to the piece besides getting the right notes!! My teacher is working with me on this. So, I should have it ready well before the deadline. Well, especially since my piece comes last of all!!!

These pieces are well named as "lyric pieces". I've listened to quite a few now on YouTube. Beautiful haunting melodies in some of them.

I'm so glad to have found PW!! Now I know that if for any reason I was not still taking lessons, I would still have a place to share my music and motivation to keep learning!!! I'm having loads of fun!!