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40 pieces for
piano
by Carl Orff
selected and introduced by Maurice Hinson
CONTENTS
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Introductions by Maurice
Hinson
Part 1: Intermediate Level:
Pieces 1 - 21
Part 2: Moderately Difficult
Level: Pieces 22 - 40
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Maurice Hinson's notes on each piece are
included below to give you an idea of how each piece can be
played.
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Carl Orff,
photo by Karl
F. Bauer, June, 1956
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Carl Orff
July 10, 1895 (Munich, Germany) -
March 29, 1982 (Munich, Germany)
Carl Orff's lifelong interests were in
works written for the theatre, combining music, drama, and
dance. His best known work is the scenic cantata Carmina
Burana for chorus, soloists, and orchestra which was
premiered in 1937 and is often performed both in the concert
hall and in choreographed productions. Other works for the
theatre include: The Triumph of Aphrodite; Catulli Carmina;
The Moon; Antigone; and many more.
Orff's genius at combining music and
other arts including drama and dance played an important
role in the formation of his educational techniques for
children called "Orff-Schulwerk," a German phrase loosely
translated as "The Orff Music Education Approach." Orff
believed that young people should learn music by combining
songs, stories, and movement in a creative way, guided by
experienced teachers. To facilitate this approach to music
making Orff developed what is known as the "Orff
Instrumentarium," a wide variety of pitched and unpitched
percussion instruments which can be played by young people
with minimal instruction, and which give much of the
Orff-Schulwerk materials a strongly rhythmic feel popular
with children. In support of his teaching ideas, Orff and
his colleagues published a series of books of compositions
in the Orff-Schulwerk style. Many of these compositions are
in wide use today, and they continue to serve as models for
new compositions by music educators worldwide who utilize
the Orff approach.
The piano pieces in this collection come
from one of these publications entitled Klavierübung.
Kleines Spielbuch ("Piano Studies: Little Playing Book")
first published by B. Schott's Soehne, Mainz in 1934
(Edition 3561). It introduces basic musicianship and an
approach to the keyboard within the framework of
contemporary and delightful sounds. Orff provided the
following preface to the edition:
"This little playing book is above all a
melody book for beginners. The melodies are based on
children's songs, folksongs, and dance melodies and should
first be practiced with one hand at a time, then hands
together. Transposition into other keys would also be good
training. For advanced players, the simple accompanying
drones and bass lines can be used as the basis for further
elaboration. These little pieces can be arranged into suites
and the melodies repeated to create various forms. The
student should strive for lively and fluent playing and
memorization of the pieces. The metronome markings given
should be used as reference points."
Even though these pieces do not have
titles, this writer would suggest that the student give a
name to each piece studied. This could help focus the
student on the attractive qualities and formal structure of
each piece.
As Carl Orff suggests, three or four
pieces could be used in a group to create your own "Little
Orff Suite." These captivating pieces will provide many
pleasurable moments for the piano student, young or
older!
Maurice Hinson
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Maurice
Hinson
As one of America's most respected authorities on piano
literature, Maurice Hinson has performed, lectured and given
master-classes worldwide. He has published scholarly
editions of works by Bach, Beethoven, Brahms, Chopin,
Debussy, Francaix, Gretchaninoff, Haydn, Heller, Hindemith,
Liszt, Mendelssohn, Mozart, Ravel, Rodrigo, Schumann,
Tansman and Turina, as well as collections of contemporary
American and European music. He is the of several books
including Guide to the Pianists' Repertoire; The Piano in
Chamber Ensemble; Music for Piano and Orchestra; Music for
More Than One Piano; The Pianist's Reference Guide; and
he compiled and introduced The Vienna Urtext Guide to
Piano Literature. Dr. Hinson founded The Journal of
the American Liszt Society and served as an editor of
The American Music Teacher.
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The Orff Collection
Introductions by Maurice Hinson
Part I. Early Intermediate Level
No.1
Although notated as four quarter notes per measure, Orff indicates
the half note = 104, or we must think of the basic pulse being the
half note. Four-measure phrases are used in measures 1-8. At the end
of measure 4 the right hand should be lifted off the key briefly for
an air space (like a breath). Two-measure phrases are used in
measures 9-16. Measures 1-8 present the right hand non-legato melody
over sustained left hand open fifths and/ or octaves. Measures 9-16
present the right hand legato melody over a more active left-hand
accompaniment. The editor suggests measures 1-4 be played forte,
measures 5-8 piano, measures 9-12 piano, crescendo measures 13-16
from piano to forte.
No.2
Maintain the same tempo (half note = 104) as in No.1. Here
staccatos and accents are introduced. Phrases are four measures in
length. Follow the articulation carefully and relate the accents to
the dynamics, i.e., an accent in a forte section is stronger than an
accent in an piano section. Suggested dynamics: measures 1-4 forte,
5-8 piano, 9-12 piano, 13-16 forte.
No.3
The tempo and pulse remain the same as Nos. 1 & 2: half note =
104. Right and left hands play in the bass clef in measures 1-8. The
left hand becomes more active in measures 9-16. Both voices are
legato throughout. The D.C. sign (Da Capo = from the beginning) tells
us measures 1-8 must be repeated after playing measures 1-16. This
gives us a three-part form: I = 1-8; II = 9-16; III like 1) = 1-8 and
ends with the fine. Follow the indicated dynamics carefully.
No.4
Two pulses per measure continue to be in effect. Touches include
staccato, legato and tenuto (indicated by the short line under the
note). Notes with the tenuto sign must be given their full time value
while the note in the other hand is to be played staccato. Eighth
notes are introduced, both staccato and legato. The comma at the end
of measure 8 indicates a very short air space. Release the from the
key very briefly. Form: three-part. I = measures 1-4 and repeated; II
= 5-12; III = 1-4 and repeated. Follow indicated dynamics. One
suggested variation is to play measures 1-4 piano on repeat first
time and piano then forte when these measures return for section
III.
No.5
Two pulses per measure is still in effect for this piece. We have
staccato, legato, tenuto and accents here. More use of dynamics is
encountered with crescendos beginning piano and suddenly (subito)
return to piano (measures 9-11 and 13-15). The difficulty here is
playing two or more separate touches at the same time, i.e., measure
1: right hand has an accent while the left hand has tenuto and
staccato marks. The left hand separations will not be as short as the
right hand separations. Try to connect the left hand parts in 9-10
and 13-14 as much as possible.
No.6
Varied touches are included in this piece: staccato, non-legato,
tenuto, > accents and staccato with tenuto (left hand in measures
1-4) . Non-legato is used in the right hand from measures 5-24: do
not connect the sound from one note to the next, but do not make the
as short as staccato. The staccatos with tenuto marks (measures 1-4
in the left hand) require more weight and the finger must remain on
the key longer, about a dotted quarter, before separating the sounds.
The sign seen at the end of measures 8 and 16 means to lift both
hands off the keys and observe a quick air space before beginning the
next measure. The editor suggests playing measures 1-4 forte, 5-8
piano, 9-12 forte, 13-16 piano, 17-20 piano, begin measure 21 piano
and crescendo to the end of the piece.
No.7
This piece introduces two pulses per measure (dotted half note) in
a swinging (schwingend) six beats (quarters) character. The left hand
should be played legato throughout while the right hand (also legato)
is grouped in two-measure phrases (measures 1-4, 7-16). Measures 5-6
are one measure phrases and should have slight separations between
measures 5 and 6, and 6 and 7. Regarding dynamics, the editor
suggests playing measures 1-4 piano (as Orff suggests), repeat these
measures at a forte level; measures 5-8 at piano, and repeat them at
forte level; measures 9-12 play at piano and begin measure 13 at
piano and gradually crescendo to the end, arriving at forte for
measure 16.
No.8
Accents, staccato touch and two-note slurs permeate this cheerful
piece. Aim for steadiness with the four staccato eighth-notes in the
middle of measures 1-3. Be sure and separate the two-note slurs in
measures 5-7 from the following staccato quarter notes. Hold the hand
tenuto (last) note in measure 8 longer than the left hand staccato
chord. Dynamics: measures 1-4 forte; repeat piano; 5-8 piano, repeat
forte; measures 1-4, begin piano and crescendo to the end of measure
4. Be aware of the accents in measures 1-3 on beats 1 and 4 and in
measure 4 on beats 1 and 3; in measures 5-7 on beat 1 only.
No.9
Eighth rests and varied-length phrase structures are introduced in
this piece. The up-beat melodic phrases in measures 1, 3, 5, 6, 7, 9,
and 13 must sound like up-beats, with less emphasis than on down
beats. Make a slight separation between the ends of phrases and the
beginning of phrases in measures 6-7. Measures 1-8 emphasize melodic
major seconds and thirds while measures 9, 10-11, and 13 and 14-15
emphasize major seconds and perfect fourths. Short phrases appear in
measures 1-8 while longer phrases are used in measures 9-16. Vary
dynamics on the repeat of measures 1-8: measures 1-4, play piano
while measures 5-8 could be treated forte to provide contrast.
No.10
Here the right hand focuses on legato, staccato and tenuto while
the left hand is all legato. Four measure phrases are used
throughout. Measures 17-24 is written in the mixolydian mode
(G-A-B-C-D-E-F-G). On the repeat play measures 1-8 piano and measures
9-16 forte. Make sure both hands have a slight break (air space)
between measures 4 and 5, 8 and 9, 12 and 13, 16 and 17, 20 and 21
and at the end of 24.
No.11
After a four-measure introduction the grace note is introduced
(measures 5, 9 and 17). Play it slightly before the beat. It gets
very little time value. Pay careful attention to the varied
contrasting touches: in measures 5-7, 9-11, and 17-19 staccato in
right hand and legato in left hand; measure 8: tenuto in right hand,
legato and end of phrase in left hand; measures 13-14 staccato-tenuto
in right hand and staccato in left hand; time values in measures
15-16 are the reverse of measures 13-14.
No.12
The term espressivo (espr.) is introduced in measure 1: this tells
the pianist to take a little more time with this piece and make sure
it does not sound metronomic. The right hand features a two-note
melody: be sure the top note is always clearly heard over the lower
note . The left hand has a counter-melody, like a duet with the top
line. Bring out the accented left hand quarter notes in measures 2
and 6 slightly.
No.13
Measures 1-8 present the melody in the right hand over a two-voice
left hand accompaniment. Measures 9-16 focus on the right hand melody
in the alto voice and accompaniment in the top voice. Bring out the
alto voice in measures 9-16 by keeping the fingers playing the alto
line more firm and voicing the alto line a forte dynamic level.
No.14
Staccato 16ths, 8ths and quarters are featured in measures 1-3.
Three-note slurs ending with accents in the right hand add interest
to measures 9-12. This pattern is shifted to the left hand in
measures 13-16. Follow dynamics carefully.
No.15
Moving fifths in the left hand support the right hand non-legato
melody in measures 1-8. Measures 9-12 turn the right hand melody into
legato eighths with the phrase structure of 1 + 1 + 2 (measures 9,
10, 11-12) . The editor suggests playing measures 1-4 piano; 5-8
forte; 9-12 piano and 13-16 forte.
No.16
Hopping left hand fifths support the right hand melody sometimes
legato, sometimes non-legato. Be careful to articulate the right hand
melody exactly as written. Change the dynamics on the repeat.
No.17
The portato touch is introduced in the left hand in measures 5-7:
it is indicated by the slur with a staccato dot. This tells the
pianist to play the note with the dot half way between staccato and
legato. Tenutos and accents are used frequently in the right hand.
The left hand continues its hopping character that was introduced in
No.16.
No.18
The wedge-shaped symbols seen in measures 1, 4-7, 15-16 and 21
indicate staccatissimo, or very short staccatos. The sound should be
short and accented. Measures 2-3 and 8 feature the portato introduced
in No. 17.
The accents (> ) in measures 4-6, 15-16, 21-22 are not as
strong or short as the staccatissimos. All accents are related to the
dynamic level so the accents in measures 1-10 (forte) are stronger
than the in measures 11-22 (piano).
No.19
Changing pulses are introduced here: three pulses (beats)
contrasted with two pulses (beats). Keep the quarter note as the
basic pulse: measurers 1-2, 5-6, 9, 12, 15 and 18-19 have three
pulses per measure while measures 3-4, 7-8, 10-11, 13-14, and 16-17
have two. Pay careful attention to varied accents as relates to the
dynamic levels.
No.20
Changing pulses of three and two continue here. Moving left hand
open fifths provide the accompaniment plus octave D's in measures 22,
24, 26, and 28. The form is ABA: A = measures 1-21; B = 22-29; A =
1-21.
No.21
Changing pulses continue in this little dance. Be careful to
observe the two-note slurs in measures 1-3, 8-10, 14-16. Do not let
the crescendo in measure 19 slip up on you.
Part II:
Intermediate Level
No.22
The term rubato over measure 1 tells you this piece is to be a
little free as regards tempo, not metronomic but do notice the
suggested metronome tempo. Notice all the tied bass note A 's. Play
the small (grace) notes slightly before the beat. Take a quick breath
at the end of measure 10 so there is a short absence of sound.
No.23
Rubato is in effect here and the same tempo (but to the half note)
as No.22. The phrase structure is 2 measures + 2 (breath) and then +
1 + 1 + 1 + 1 + 1. Notice the bass tied A's only in measures 2, 4,
and 10. The final measure (left hand part) will require fingers 2 on
E and 5 on A. A little ritard in the last measure is appropriate.
No.24
Feel this piece in four pulses (beats) per measure. Let it be
somewhat free (rubato and espressivo). The phrase structure is 2+2+3.
Do not rush the triplet in the final measure. Hold the long tied bass
note A with the moving voice over it. The one B-flat adds color and
interest.
No.25
Again, we have both rubato and espressivo indicated so this piece
is fairly free. The melody is assigned to the left hand while the
accompaniment is now in the right hand, the reverse of most of the
earlier pieces. Bring out the left hand melody.
No.26
The first measure is a group of three phrases with the half note
the basic pulse. Rubato is specified. The final four measures require
very careful attention to articulation with four quarter notes the
basic pulse.
No.27
This expressive piece presents a lovely duet between the top
(soprano) and middle (alto) voices in measures 9-16. Bring out the
alto voice in those measures and keep both parts as legato as
possible. Remember to observe the short breath (air space) at the end
of measure 4.
No.28
Changing meters (pulses) from three to two are encountered in
measures 1 and 2. At measure 3 the tenor voice begins an ostinato
(constant repeated figure) in quarter notes that provides a duet with
the soprano (top) voice. Distinguish between quarter and half note
staccatos. Very strong (fortissimo) dynamics are used here. Vary the
dynamics when repeating the piece.
No.29
This piece presents the most unusual form encountered thus far. It
is binary form: Part I = measures 1-24; Part II = measures 25-32.
This form can be broken into smaller sections: A = 1-8; B = 9-16; A =
17-24; C = 25-32 repeated. The C section features three beats per
measure while the rest of the piece uses two pulses per measure. Pay
careful attention to accent and dynamic marks.
No.30
Expressive and charming, this piece divides the three pulses
(quarters) per measure into half (measures 1-2, 4-6, 8-13) and into
three (measures 3, 7, 14). Measures 8-15 add colorful harmonies.
Allow for air spaces where marked in measures 4, 10 and 12.
No.31
This piece has a swinging character and bounces along cheerfully.
Be careful of the rhythmic shift in measure 4. Notice the tenuto
marks on the down (strong) beats in the RH in measures 9-12 and on
the off beats in the LH in those same measures. A slight ritard in
the final measure is appropriate.
No.32
Three eighths meter is contrasted with four quarters in this
piece. Count the eighth-notes 1 2 3, 1 2 3 4 5 6 7 8 and keep the
tempo steady. Measure 16 is rather free since a ritard affects most
of the measure. Immediately return to a tempo in measure 17. Be sure
to observe all of the ends of phrases marked with commas.
No.33
Here we have two-four meter contrasted with three-four meter. Tied
notes across the bar line are encountered in measures 10-11 and
14-15. Count a strong "one" on the downbeat of the tied notes and
maintain a steady tempo. The form is different from most of the forms
used so far in this collection; it is three-part with the third part
unequal when compared to Parts I and II. Part = I measures 1-8; II =
9-16; III = 17-21.
No.34
Three-quarter plus two-quarter meter add charm to this dance.
Measures 1-8 feature two- four measure phrases while measures 9-17
feature three measure phrases. Be sure to observe the sudden dynamic
changes in measures 1 and 5.
No.35
Measures 1-3 serve as an introduction to this piece. Accents on
beats one and three in measure 6 add rhythmic interest. Tied notes
across the bar lines in measures 9-10, 12-13, 15-16, and 18-19 make
the three-eighth meter sound and feel like two-eighth meter.
No.36
This is the longest piece in the collection. Quick changing
intervals, as in measures one and two (fifth, third, fourth and back
to a third) will be a challenge. Use the fingerings:
3 4 5 4
1 2 3 2
this will help simplify the problem. Be ready for the quick jumps
in measures 2, 4, 8, etc. Bring out the alto line when repeating
measures 21-28. The contrasted dynamics will add much interest if
followed carefully.
No.37
Here we have a bouncy right hand melody accompanied with an
infrequent left hand chord. Use fingers 2 to begin the left hand part
in measure 12. Notice the shift from three quarters in measures 23-27
to two quarters in measures 28-32. Bring out the right hand melody in
measures 16-33.
No.38
This piece is based on an old German folk melody, Die
Brünnlein, die da fliessen ["The spring waters that are
flowing']. Orff gives us the text that accompanies the melody and
an English translation has also been provided. You are not required
to sing the words, but it might be fun to try it either with the
words or using the syllable "la." Make clear distinctions between
accents plus staccato, staccato and tenuto marks. Vary dynamics on
the repeat.
No.39
Off-beat accents (on 2 and 4) are featured in this delightful
piece. Bring out the right hand melody in measures 11-15 and 19-23.
Notice the final measure receives only one half note beat. Orff again
gives us the text that goes with the folk melody, an old German
dialect roughly translated: "In rustic pond I am so fond, to be there
soon I'm longing. " Try singing the melody (an octave higher than
written).
No.40
Inner voices are featured in measures 1-8. Interest shifts to the
top voice in measures 9-24. Be sure to contrast legato and non-legato
touches. Make a distinction between accent marks in the outer voices
in measure 1 with tenuto marks in these voices in measures 5-7.
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