Dennis Alexander has spent decades establishing himself as a cornerstone voice in educational piano composition. Since 1986, his partnership with Alfred Music Publishing has yielded over 400 publications and recordings, earning him recognition as one of the most widely performed composers of pedagogical piano repertoire across all student levels. His credentials span university teaching (24 years at the University of Montana as piano pedagogy faculty and department chair), private instruction in California, and faculty positions at Cal State Fullerton and Cal State Northridge.
Beyond the studio and classroom, Alexander maintains an active performance schedule as soloist, accompanist, and chamber musician. He made his Carnegie Recital Hall debut in 1987 and has collaborated with internationally recognized artists across multiple genres. His work extends to clinician presentations at state and national music teachers conventions, competition judging, and commissioned compositions for organizations nationwide. He currently resides in Albuquerque, New Mexico, where he continues composing and touring.
Why we love this
Alexander writes pieces that sound considerably more sophisticated than their technical demands suggest, and this scherzo exemplifies that gift perfectly. The chromatic writing feels contemporary and clever without requiring advanced hand independence or leaps that intimidate intermediate students. It's the kind of piece that makes students sound genuinely musical while building real compositional literacy.
What to expect
Playful and intellectually engaging, with a spark of wit running through the chromatic twists. The piece dances rather than struggles, maintaining an almost whimsical quality despite its harmonic invention. Its three pages feel spacious and unhurried, inviting students to enjoy the journey rather than simply reach the ending.
Who it's for
Intermediate piano students who are ready for pieces with real harmonic sophistication and character, plus students developing chromatic literacy and voice independence. It works equally well for ensemble or solo recital contexts where a shorter classical character piece fits the program.
How to get the most out of it
Shape the chromatic lines with clear direction; treat them as melodic statements rather than technical display. Each phrase benefits from a slight arrival point, even when the harmony keeps moving.
Distinguish between the walking accompaniment figures and the chromatic voice that floats above them. This clarity prevents the piece from sounding murky and lets the harmonic intrigue emerge.
Maintain steady pulse through the rhythmic density. The chromatic writing can tempt students to rush; a metronome partnership during practice prevents that tendency.
Explore dynamic contrast within the middle sections to prevent fatigue. Even small shifts between piano and mezzo piano refresh the ear and highlight the structural turns.
How to use it
Pair this with a romantic etude or a contemporary work to show students the range of character writing at the intermediate level. Its compact length also makes it ideal for themed recitals exploring harmonic language or for those moments in a mixed student recital where you need something polished, substantial, and genuinely interesting.
Skills your students will build
Reading and executing chromatic passages with clear voice leading
Distinguishing between accompaniment texture and melodic content
Maintaining steady pulse through rhythmic density
Interpreting harmonic movement beyond traditional diatonic progressions
Balancing technical execution with musical character
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