If you are looking for an unusual, early-intermediate, summer-themed book for a student who enjoys learning new concepts, I’d like to recommend Martha Hill Duncan’s Cottage Days.
I picked up this collection after the most recent NFMC bulletin came out, since it includes a couple of elementary-level selections. The book was published in 2008 through Duncan’s publishing house, Red Leaf Piano Works. I have to admit that after purchasing it, I let it sit on my shelf for quite a while without really teaching from it or giving it a proper read-through. Recently, I decided it was time to take a closer look.
Each of the ten pieces in this collection includes something a little out of the ordinary. At first, that didn’t immediately pull me in—but as I spent more time with the pieces, I began to see why they might be perfect for students who are starting to feel bored with more traditional repertoire.
One way Duncan keeps things interesting is through creative use of meter. Misty Morning (an Elementary 1 NFMC selection) is a short, one-page piece written primarily in 6/4 time, with a brief 4/4 section. Fire Circle is an expressive piece in 6/8 that provides a great opportunity for students to work with dotted eighths and sixteenths. However, Cicadas may be the most adventurous rhythmically. Beginning in 8/8 and shifting between 4/8 and 6/8, it certainly keeps players counting. Add in cluster chords and glissandos, and you have a piece students are unlikely to forget.
Two pieces introduce a third staff, which adds another layer of interest. Cattails (recording shared below) includes an additional bass staff that creates a beautiful melodic line, and students will likely enjoy learning the terms mano destra and mano sinistra. August Moon uses a second treble staff to add a high ostinato broken chord pattern that feels unexpected but adds a lovely shimmer to the piece.
Summer Lightning introduces students to the whole-tone scale. While I’ll admit that this sound isn’t my personal favorite, it provides a valuable learning opportunity and reinforces the patterns students already know from their major and minor scales.
Rowboat at the Dock stretches imagery beyond the keyboard by incorporating rhythmic fallboard knocking to imitate waves tapping a boat against the dock. I’m not entirely sure how I feel about the sound effect, but it was certainly fun—and a bit challenging—to try!
Finally, Dragonflies, Water Lilies, and Sandcastles are three expressive pieces that feature rhythmic variety and unusual harmonies. Each one makes a wonderful study in musical imagery and offers teaching opportunities that aren’t often found in standard student repertoire.
Overall, Cottage Days is a creative collection that would be especially appealing to students who enjoy exploring new sounds, rhythms, and textures at the piano. If you’re looking for repertoire that feels a little different from the usual fare, this book may be worth adding to your shelf.