Music for Little Mozarts: Character Solo -- Elgar E. Elephant, Level 2 Cover Image

Music for Little Mozarts: Character Solo -- Elgar E. Elephant, Level 2: Piano Sheet

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Music for Little Mozarts: Character Solo -- Elgar E. Elephant, Level 2 Cover Image

Music for Little Mozarts: Character Solo -- Elgar E. Elephant, Level 2: Piano Sheet

By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster

Item: 00-27715

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Description
Using themes adapted from Edward Elgar's "Salut d'Amour, op. 12," this 4-page solo includes interesting facts about Elgar and his life, rhythm exercises, fun pictures and charming accompaniments.

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Additional Details
Series: Music for Little Mozarts
Publisher: Alfred Music
Page Count: 4
UPC: 038081302324
SKU: 00-27715

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About the Authors

Christine H. Barden
Christine H. Barden is widely recognized as an expert in early childhood music education. She co-authored Alfred's Music for Little Mozarts preschool piano method and maintains a private piano teaching studio in Reno, Nevada, where she instructs award-winning students in piano, composition, and Music for Little Mozarts classes. A San Francisco State University graduate with a degree in piano performance, she studied with Vladimir Brenner, who served as piano soloist for the NBC Symphony Orchestra.

Barden's career has been shaped by extensive international experience and leadership in music education. She spent four years in Europe studying, performing, and teaching, and was among the first American educators to train with Yamaha Music Foundation instructors in Japan. Over 17 years with Yamaha, she held significant positions including Director of Curriculum and National Chief Instructor for the Yamaha Music Education System.

As a sought-after clinician, Barden has led workshops for piano teachers at conferences across the United States, England, Norway, and Singapore. Her published compositions through Alfred include the Music for Little Mozarts series and several piano solos, notably "Etude Toccata," which was selected as a National Federation of Music Clubs Junior Festival piece.
Gayle Kowalchyk
Dr. Gayle Kowalchyk is a piano instructor and pedagogy specialist at California State University, Northridge, where she teaches class piano, applied piano, and piano pedagogy. She earned her bachelor's degree in piano performance from Ohio University (1977), a master's degree in piano performance and pedagogy from Northwestern University (1979), and a doctorate in piano pedagogy from Teachers College, Columbia University (1989).

Throughout her career, Dr. Kowalchyk has held faculty positions at Eastern Illinois University, Oklahoma Baptist University, and the University of Oklahoma. At Eastern Illinois, she coordinated the class piano program, directed the piano preparatory program, and taught graduate piano pedagogy courses. She also spent summers from 1979 to 1982 teaching class piano and piano ensemble at the National Music Camp in Interlochen, Michigan.

As a respected clinician and adjudicator, Dr. Kowalchyk regularly presents at major conferences including the Music Teachers National Association, Music Educators National Conference, National Group Piano Symposium, and World Piano Pedagogy Conference. She is co-author of more than 300 educational piano publications with her husband, Dr. E. L. Lancaster, among them Alfred's Premier Piano Course and Music for Little Mozarts. Based in the Los Angeles area, she currently serves as a clinician for Alfred Music while continuing her teaching work.
E. L. Lancaster
Dr. E. L. Lancaster served as Executive Editor for Piano at Alfred Music and currently teaches piano as adjunct faculty at California State University, Northridge. He earned degrees from Murray State University and the University of Illinois, culminating in a Ph.D. from Northwestern University.

From 1979 to 1998, Lancaster was Professor of Music at the University of Oklahoma, Norman, where he shaped the piano pedagogy program significantly. He founded the master's and doctoral programs in piano pedagogy there in 1980 and mentored more than 50 doctoral students in the field. He also directed the Piano Pedagogy Laboratory Program, which served pre-college students through combined group and private lessons. Between 1981 and 1996, he and his wife, Dr. Gayle Kowalchyk, operated a thriving independent piano studio in Norman.

Lancaster's leadership within the music education community includes serving as National Chairman of Group Piano and National Chairman of Student Chapters for MTNA, as well as chairing the 2020 MTNA National Conference. His teaching excellence earned him multiple University of Oklahoma honors, among them the Regents Award for Superior Teaching (1984), the David Ross Boyd Professorship (1991), and the Provost's Outstanding Academic Advising Award (1996). He received the Signature Sinfonian award from Phi Mu Alpha Sinfonia in 2013 and was named Distinguished Alumnus by Murray State University in 2014.

Why we love this

This solo transforms a beloved romantic composition into material that speaks directly to young pianists, complete with musical history and engaging context that makes classical music feel accessible and personal. The 4-page length sits in that sweet spot where students feel genuine accomplishment without overwhelming practice schedules. Rhythm exercises and charming accompaniments mean you're building technique alongside repertoire, which is exactly what early elementary students need.

What to expect

Charming and elegant, with moments of gentle melodic warmth that echo Elgar's gift for lyrical writing. The accompaniment cradles the melody, making young hands feel supported while they navigate the solo line.

Who it's for

Early elementary pianists at Level 2 who are building foundational technique and ready for repertoire that connects to real composers and their stories. Students in Music for Little Mozarts classes benefit most, though any young pianist working at this early intermediate level will find the solo engaging and appropriately challenging.

How to get the most out of it

  • Listen to the original Elgar "Salut d'Amour" together before diving into the solo; students who know the source material engage more deeply with the adaptation and understand how composers draw from established melodies.
  • Work through the rhythm exercises provided in the book before tackling the solo itself; this isolates rhythmic patterns so students can focus on note-reading and hand position without juggling unfamiliar rhythms.
  • Practice the accompaniment part yourself, even if a student or another teacher will play it; knowing the harmonic framework helps you hear what the student should be aiming for musically.

How to use it

Feature this as a student recital solo where you can spotlight one or two performers while others hear an introduction to a famous classical composer. The brief biographical notes make it natural to include program notes written by the student, which adds educational value to a performance setting.

Skills your students will build

  • Reading adapted classical melodies with proper phrasing
  • Executing the specific rhythm patterns presented in the exercise section
  • Playing with accompaniment and listening to ensemble balance
  • Understanding basic composer biography and historical context for a real composition

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