Written for the early intermediate piano student, this piece contains triplet patterns played between the hands, and a melodic section that consists of quarter notes, eighth notes, and chords that balance the triplet sections in texture and character. Students will enjoy playing the quick triplet figures!
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Melody Bober is a composer whose work centers on creating pieces that deepen students' musical literacy while nurturing their enthusiasm for the piano. She holds a Bachelor of Music Education from the University of Illinois at Urbana-Champaign and a Master of Arts in Piano Performance from Minnesota State University, Moorhead, where she studied piano with Joel Shapiro and Andrew Froelich, music education with Mary Hoffman, and jazz with Tony Caramia.
Bober brings two decades of public school teaching experience, two years of university-level instruction, and an active private studio practice to her compositional work. She has served as church pianist, accompanist, and music director, and regularly clinics at piano teacher conventions and workshops throughout North America. She lives in Minnesota with her husband Jeff.
Why we love this
Bober strikes a real balance between technical challenge and musical satisfaction at the early intermediate level. The interplay between triplet figuration and quarter-note melody creates genuine rhythmic interest without overwhelming a student still building independence between the hands.
What to expect
The piece evokes constant forward motion, as if water tumbling over smooth stones. Rushing triplet figures create energy and excitement, then the piece pulls back into a lyrical, spacious melody that catches your breath before the current returns.
Who it's for
Early intermediate pianists ready to navigate mixed rhythmic textures and coordinate independent hand patterns. Students who respond well to pieces with clear character and rhythmic momentum will find this especially rewarding.
How to get the most out of it
Establish the triplet feel as the piece's rhythmic anchor. Practice the triplet patterns separately in each hand before combining them, ensuring evenness and clarity.
Let the melody sing through the chordal accompaniment. These sections deserve legato touch and gentle pedal to contrast with the rhythmic energy of the triplets.
Count through transitions between the triplet sections and melodic sections carefully. The textural shifts should feel intentional, not stumbling.
How to use it
Use this as a solid opening piece in a student recital, where its energetic character engages the audience immediately without requiring virtuosic stamina. It also works well in a mixed-level studio performance where early intermediate students need a piece that sounds accomplished but remains technically honest.
Skills your students will build
Playing even triplet patterns with rhythmic independence between the hands
Balancing melodic line over chordal accompaniment
Transitioning between rhythmic textures while maintaining steady pulse
Developing hand coordination and control at moderate tempos
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