Dancing on the Keys, Book 2: Piano Book

Rollin channels the infectious energy of seven distinct dance styles into solo pieces that maintain genuine musical substance at the intermediate level. Students get real rhythmic and stylistic challenges without melodic or harmonic simplification, so they're building serious musicianship alongside the joy of playing recognizable, character-driven material. The collection pairs naturally with her Dances for Two duet series, giving you options to explore the same styles both solo and collaboratively.

Each piece is a small journey into a different musical geography. You'll move from the bright syncopation of Chicago jazz through a romantic European waltz, into the fiery passion of Hungarian tradition, and back again, all without leaving the piano bench. The rhythms are alive and propulsive; the melodies sing with character.

Intermediate pianists who thrive on music with personality and cultural flavor. Students preparing for recitals, festivals, and competitions will appreciate repertoire that offers both technical growth and immediate musicality without requiring advanced technique.

• Establish the specific dance character before worrying about tempo markings. Chicago Jazzland Dance, French Movie Waltz, and Samba Fun each demand distinct rhythmic phrasing rooted in their genre, so internalize the dance feel first and let it shape your articulation and rubato.
• Highlight the right-hand melody line in the outer sections of pieces like Tarantella Agitato and Paso Doble, where rhythmic accompaniment patterns can easily overshadow the primary voice. Balance here determines whether the dance comes alive or becomes mere technical exercise.
• Work the rhythmic figures independently from the melody when learning Hungarian Gypsy Dance and Limbo Lucy. These pieces layer complex accompaniment patterns that students often rush; isolate and master the left hand's groove before combining voices.

These pieces work beautifully on solo recitals, either as standalone selections or grouped by geographical theme to create a mini world tour. You might also pair individual pieces from this collection with related material from Dances for Two to create a longer program segment around dance and cultural music.

• Stylistic distinction across dance genres (waltz, tango, samba, tarantella, gypsy, jazz, limbo)
• Rhythmic independence between hands with syncopation and cross-rhythms
• Balance and voice leading when melody competes with rhythmic accompaniment
• Articulation choices that reinforce cultural and rhythmic character
• Interpretation of rubato within structured dance meters