Grand Favorites for Piano, Book 4: Piano Book

Bober's arrangements in this collection showcase her knack for preserving the character and drama of beloved classical and folk melodies while scaling them perfectly for early intermediate players. The writing feels natural under the hands, never condescending, and each piece has enough musical personality that students feel they're performing genuine literature rather than exercises. You'll find your students eager to learn these titles because they recognize the tunes and actually want to play them well.

Stepping into a concert hall where classical grandeur meets familiar joy. These arrangements honor the elegance of their operatic and symphonic sources while maintaining an accessible, approachable spirit that makes practice feel purposeful rather than laborious. Whether you're playing a stately march or a spirited folk tune, the music sounds richer and more substantial than the technical demands might suggest.

Early intermediate pianists ready for repertoire that feels genuinely musical and worth performing. Students who respond well to recognizable melodies will especially connect with this collection, and those preparing for recitals will appreciate having 13 different pieces to choose from across a range of musical styles and characters.

• Attend to the dynamic shape within each phrase, even in lighter selections like 'Turkey in the Straw' and 'Everybody Loves Saturday Night.' Bober's arrangements often build momentum through subtle dynamic changes rather than obvious climaxes.
• Balance melody and accompaniment carefully in the operatic selections like 'La donna è mobile' and 'Carmen Overture Theme.' The supporting voices deserve clarity so the familiar melodies don't overshadow the harmonic context.
• Distinguish the character of each piece through articulation and pedal choice. The march pieces (Radetzky March, Light Cavalry Overture) need crisp articulation and lighter pedal work, while the operatic themes benefit from longer harmonic resonance.
• Practice the rhythmic patterns in folk-based arrangements separately from the melody line to ensure both layers lock together; pieces like 'New River Train' and 'She'll Be Coming 'Round the Mountain' have driving accompaniment figures that need independence.

Build a recital program around contrasting selections from this book, using the classical themes for the sophisticated opening and closing pieces while placing folk arrangements in the middle for variety and lighter character. These pieces also work beautifully as supplemental repertoire for students studying the original sources in music history or ear training, reinforcing their understanding of melody and form through hands-on performance.

• Reading and executing articulation markings across staccato, legato, and portato styles
• Balancing multiple voices in two-hand writing, particularly in arrangements with sustained accompaniment patterns
• Shaping longer melodic lines through dynamic nuance and phrase planning
• Managing pedal changes to support harmonic movement without muddying texture
• Recognizing and adapting to different harmonic contexts (modal, functional tonal, chromatic passages)
• Building secure rhythmic independence between melody and accompaniment figures