Dancing on the Keys, Book 3: Piano Book

Rollin's solo series captures the appeal that made her duet collection Dances for Two so popular with students and teachers alike, but scaled for independent repertoire study. These five pieces anchor themselves in authentic dance styles (tango, waltz, Cuban danza, can-can), giving students immediate cultural and rhythmic context while building genuine technique. The writing feels accessible without ever condescending; late intermediate pianists gain real interpretive challenges alongside memorable melodies.

Each piece radiates the energy of its namesake dance. Argentina! pulses with dramatic tango passion; Can You Can-Can? captures infectious can-can humor and bounce; Danza Cubana brings warm, syncopated Caribbean flavor; Evenings in Vienna evokes the graceful lilt of Viennese waltzes; Temptation Tango seduces with sultry, smoldering appeal. Together they form a musical tour of world dance floors, each with distinct personality and character.

Late intermediate pianists ready to explore pieces rooted in world music traditions without needing conservatory-level virtuosity. Students preparing for auditions, competitions, or recitals will find material that sounds mature and culturally sophisticated while remaining within their technical grasp. Teachers seeking engaging repertoire that bridges technique-building and genuine musical expression will value the stylistic variety across all five pieces.

• Study the national origins of each dance before you begin learning the piece. Listen to recordings of authentic tango, waltz, and Cuban danza to internalize the characteristic rhythmic pulses and accents that define each style.
• Pay attention to Rollin's articulation markings and dynamic contrasts. The difference between staccato and legato passages often captures the essence of each dance's character, so honor these details even in early run-throughs.
• Experiment with pedal choices carefully. Some passages benefit from light pedaling to blur harmonies (especially in Evenings in Vienna), while others demand clarity; let the texture and harmonic rhythm guide your decisions rather than sustaining automatically.
• Establish the rhythmic feel of each dance by tapping or conducting the characteristic pulse before you sit down to play. Locking in the beat from the start prevents the interpretive work from feeling rushed.

Book 3 works beautifully as a bridge in a recital that moves from classical or contemporary repertoire into pieces with clear cultural identity and rhythmic specificity. Program one or two pieces alongside standard repertoire to show a student's versatility in both technical control and stylistic interpretation. These are also excellent material for thematic concerts exploring dance across cultures or as standalone recital selections for students seeking approachable late intermediate fare with genuine pedagogical and musical weight.

• Rhythmic precision in dance styles including tango, waltz, can-can, and Cuban danza rhythms
• Pedal control and experimentation across different harmonic contexts and textures
• Interpretation of stylistic character and cultural authenticity through articulation and dynamic shaping
• Polyrhythmic awareness and the interplay between left-hand accompaniment patterns and right-hand melody
• Phrasing and expressive control at moderate tempos with musical sophistication