This late intermediate piece commissioned by the Hattiesburg Music Teachers League, in honor of their 2005 composer festival, is written in the Romantic style. This piece is full of expressive passages utilizing rubato playing. The introduction is bold and dramatic which leads into a lyrical section that later intertwines the lyrical and the dramatic. Contained in piece are eighth, triplet, sixteenth, and thirty-second note passages that will give the student the variety of rhythms in which to explore. There are also opportunities for the left hand to play the melody.
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Melody Bober studied music education at the University of Illinois at Champaign-Urbana, earning her degree summa cum laude, and later completed a Master of Arts in piano performance at Minnesota State University, Moorhead. Her teaching background spans two decades in public schools, university-level instruction, and private studio work, alongside her ongoing roles as a church pianist and accompanist. She has studied with renowned pianists Joel Shapiro and Andrew Froelich, music educator Mary Hoffman, and jazz pianist Tony Caramia.
Bober brings this deep pedagogical experience directly into her compositions, crafting pieces that challenge and inspire students while deepening their musicality. A sought-after clinician and speaker at piano teacher conferences and workshops across North America, she continues to live and teach in Minnesota.
Why we love this
Bober's gift for weaving expressive, Romantic-style writing with solid pedagogical purpose shines here. Students encounter genuine musical drama without drowning in unnecessary complexity, and the interplay between lyrical passages and bold statements keeps them engaged throughout a piece that rewards thoughtful interpretation.
What to expect
A piece that sweeps between introspection and passion. The opening immediately captures attention with its bold drama, then draws you inward through lyrical, songlike passages. The constant intertwining of these two moods creates a piece that feels both intimate and grand, asking the pianist to inhabit both a dreamer and a storyteller.
Who it's for
Late intermediate pianists ready to deepen their expressive vocabulary and command of rubato. This piece suits students who have solid technical foundations and are beginning to understand how Romantic-era pianists shaped melody and created emotional depth.
How to get the most out of it
Shape the introduction with conviction, establishing the dramatic tone before yielding to the lyrical material that follows. This contrast sets up the emotional arc of the entire piece.
Explore rubato expressively in the lyrical sections, allowing the melody to breathe while keeping the harmonic foundation steady beneath.
Navigate the rhythmic variety (eighths, triplets, sixteenths, and thirty-seconds) by practicing each rhythm family separately at tempo before combining them, ensuring clarity without rushed phrasing.
When the left hand carries the melody, bring it forward with the same care you would give a right-hand line, maintaining voice independence and allowing both hands equal presence.
How to use it
Program this as a recital centerpiece that demonstrates a student's growth in expressive playing and interpretive maturity. It also works beautifully in a concert celebrating Romantic repertoire or as a standalone feature that doesn't require padding from other pieces.
Skills your students will build
Reading and performing passages with mixed rhythmic values (eighths, triplets, sixteenths, thirty-seconds)
Executing rubato with control and musicality
Balancing dramatic and lyrical character within a single piece
Playing left-hand melody with independence and projection
Shaping long phrases with dynamic and tonal nuance
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