Christmas with Kevin Costley, Book 1: Book 1 Piano Book

These arrangements avoid the trap of oversimplifying familiar melodies. Each intro establishes a distinct character, which means your students aren't just playing carols they've heard a thousand times; they're discovering new interpretive possibilities within them. The three-page format with lyrics gives students enough material to develop a complete musical statement without overwhelming players at this level.

Familiar carols gain unexpected dimension here. These aren't the reductive versions students might encounter elsewhere; they're genuinely musical interpretations that range from rollicking and playful to tender and intimate. Students play not just the tune but an entire arrangement that feels complete.

Late elementary and early intermediate pianists who are ready for pieces slightly longer than single-page arrangements but still need support with technical demands. This collection works equally well for students preparing solo repertoire or building a seasonal performance set.

• Study the intro first as its own musical moment. These aren't throwaway gestures; they establish the entire mood and style of the piece. Make sure students hear the difference between a perky intro and a lyrical one before diving into the melody.
• Balance the melody line against accompaniment carefully, particularly in the more lyrical arrangements. Piano students often default to playing everything at one dynamic level, so mark where the tune needs to sing and where it sits back.
• Use the lyrics as a phrasing guide. Even instrumentally, the text shows where breaths belong and where lines should connect, which helps eliminate choppy playing at phrase boundaries.

Pull individual pieces for a winter concert where multiple pianists each perform a carol, or use the collection as a full recital book for an advanced student navigating the late elementary repertoire. Several titles work beautifully as background music for school holiday events while still demanding serious practice and musicianship.

• Controlling dynamic contrast between melody and accompaniment
• Interpreting stylistic variety within a single collection (perky versus lyrical characters)
• Reading and performing longer forms (three-page arrangements)
• Connecting text phrasing to instrumental line shaping
• Developing introductions that establish mood and context for the main melody