A Christmas Tree-O!: Piano Trio (1 Piano, 6 Hands) Book

Alexander's arrangements for multiple hands on one piano remove the barrier of needing multiple instruments while preserving genuine ensemble learning. Students experience real collaboration and part independence at a level where most duet collections fall short, and the flexibility to perform as a trio, duet, or solo means this book adapts to whatever your studio or classroom setup demands. The Federation Festivals selection validates what teachers already know: these pieces work musically and pedagogically.

Bright and accessible without sacrificing charm. These arrangements maintain the warmth and festive character you expect from Christmas music while keeping the technical demands manageable, so students can focus on listening to each other and responding as a group rather than fighting the notes.

Late elementary pianists who are ready for ensemble experience but may not have access to other instrumentalists. This collection also serves teachers seeking flexible holiday programming that works equally well in studio recitals, school concerts, or festival competitions.

• Establish hand position landmarks before the first rehearsal. Have players identify which hand belongs to which staff line so transitions between players feel natural rather than chaotic.
• Balance matters even more in one-piano arrangements. The middle player (hands 3 and 4) often carries material that would be undersupported in traditional ensemble writing, so listen carefully during rehearsal for what needs to project.
• Record a run-through once players know their parts. Hearing themselves as a trio, even informally, shifts their sense of ensemble from mechanical to musical.
• If you're performing as a duet or solo, respect the original ensemble voice leading. Omitting voices should maintain the harmonic integrity and melodic arc of Alexander's writing.

Feature a trio arrangement as a winter concert centerpiece that showcases collaboration and maturity. You can also program multiple arrangements back-to-back (trio, then duet, then solo versions of related pieces) to demonstrate how the same material adapts across different ensemble sizes, making the learning progression visible to your audience.

• Listening and blending with two other pianists on the same instrument
• Coordinating hand placement and transitions between multiple players at one keyboard
• Maintaining rhythmic independence while following ensemble partners
• Sustaining musical phrasing across ensemble roles rather than individual lines
• Adapting their touch and dynamics for ensemble balance rather than solo projection