Clowning Around: Piano

Name: Clowning Around: Piano
Brand: Alfred Music
SKU: 98-DS4113
Price: 2.50 USD
Availability: InStock

By Stephanie J. Wilburn

Item: 98-DS4113

Digital Download

$2.50

Winner of the Lynn Freeman Olson Composition Award, Clowning Around is an outstanding festival, recital, or audition solo for the intermediate performer. This frolicking piece features staccato and legato touches, light use of accidentals, and an extended keyboard range. Students will love the clever "forearm" glissandos that conclude this award-winning solo.

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Series: Spotlight Solo Sheets

Publisher: The FJH Music Company, Inc.

SKU: 98-DS4113

More about this title

About the Composer: Stephanie J. Wilburn

Stephanie J. Wilburn is a composer whose work has earned recognition in major composition competitions, including the Lynn Freeman Olson Composition Award. Her writing demonstrates a keen understanding of what intermediate performers can accomplish and what will genuinely excite them at the keyboard.

Wilburn's compositions balance technical challenge with accessibility, a hallmark of pedagogy-minded composers. Her pieces reward careful practice while maintaining the playfulness and joy that keep students engaged with their instrument.

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Why we love this

Wilburn writes with genuine understanding of what intermediate pianists can execute convincingly. The piece balances technical playfulness with musical substance, and the award recognition signals it holds up at serious competitions without sacrificing the joy that makes students want to practice it.

What to expect

Playful and lighthearted, this piece invites you into a world of musical pranks and surprises. The wide keyboard range and unexpected technical touches (especially those theatrical forearm glissandos) create moments of delightful mischief that reward both the player's energy and the listener's attention.

Who it's for

Intermediate pianists preparing for festivals, recitals, or auditions will find a piece that challenges their coordination without overwhelming their technical grasp. The accessible difficulty level and entertaining musical content appeal to students who have moved beyond early repertoire but are still building speed and independence between hands.

How to get the most out of it

Differentiate the staccato and legato touches clearly from the start. The contrast between crisp articulation and flowing passage work is what gives the piece its character.
Approach the forearm glissandos as a physical and musical payoff. Control the speed and weight so they land precisely on the final chords rather than sliding as an afterthought.
Shape the accidentals as intentional harmonic color, not obstacles. Listen for how each chromatic note changes the phrase direction and plan your dynamic response accordingly.

How to use it

Program this as a palate cleanser between heavier romantic or classical works, or open a recital with its infectious energy. It works equally well in a festival solo competition where judges appreciate technical clarity paired with genuine musicality and personality.