The Gillock world tour: introducing world music styles using the compositions of William Gillock in studio concert presentations.

The use of a theme for studio recitals, with all the members of a piano studio participating, has become a more widespread practice in the last few years. In fact, concerts in general, including recitals by professional artists, seem to have shifted to the use of a theme or underlying motif in order to make the evening more enjoyable and, coincidentally, more educational. This probably derives from the many "lecture recitals" that have always been a standard feature of most advanced degrees in piano performance.

There are many possible themes for your studio recital. One of the things a studio teacher might do is to assemble a program of music from one era of music history, for example, a "Classical Evening" or a "Romantic Afternoon." Another possibility might be to present a "This is Your Life"-type program surveying the composer's life, as well as his music, such as "A Beethoven Abend," "A Chopin Serenade" or "A Bartok Bash." There are always enough pieces of varying level of difficulty available that all of your studio, from the earliest beginners to the most advanced, can be involved in the presentation. With careful planning and thoughtful assignments, everyone will feel fully vested in the program's success.

One such concert I have assembled is called "The Gillock World Tour," in which the solos and ensemble music of William Gillock are used as stopping places in a world music tour that includes a geography lesson. This particular musical voyage begins in the American West, goes west across the Pacific Ocean for a visit to Polynesia, Asia and Russia, and then on to Europe, with stops in Switzerland, Austria, France and Italy. From there we head south to the Middle East and then back to Spain before a quick stop in the British Isles. Then it's on to Latin America and Mexico before ending our whirlwind world tour in New Orleans. Each of these stops represents a different musical style--and we all know how expertly William Gillock was able to capture style--and an opportunity for exposure to different cultures as represented by their music.

The opportunities for exploring the various world music styles are many, and the geography lesson is important too--how many students are unable to point to, say, Paris, on a world map! You might compose a short introductory paragraph about each locale, or assign these to the students who are performing. For those of you who are technologically more confident, you might even assemble and incorporate a computerized slide show to go along with the music and lecture.

Following is a list of solos and ensembles by Gillock from which to choose, arranged alphabetically and in ascending level of difficulty for each "port of call." Also shown is the name of the collection in which a piece first appeared, where pertinent. For the more difficult accompanying parts in the ensembles, the teacher should consider performing with the students if another suitably advanced student is not available--it's always a treat for students to play with their teacher.

All that remains is to wish you and your students Bon Voyage!

United States--The American West

E1

The Drifting Cowboy (1954)

Indian Rain Dance (Accent on Solos 1, 1971)

Pow Wow (Two Indian Dances, 1980)

Smoke Signal (Big Note Solos, 1970)

Swing Your Partner (Big Note Solos, 1970)

Tom Toms (Two Indian Dances, 1980)

E2

Country Dance (Piano All The Way, Level 3, 1969)

Indian War Chant (Accent on Solos 2, 1969)

Mission Bells (1959)

E3

The Swinging Sioux (Accent on Solos 3, 1969)

Wagon Train (Accent on Majors and Minors, 1963)

Int 1

American Folk Dance (Accent on Rhythm and Style, 1962)

Riding the Range (Piano Ali The Way, Level 3, 1969)

Polynesia

Int 2

Polynesian Nocturne (1963)

MD2

Etude in A Major--The Coral Sea (1980)

Asia

E1

Pagoda Bells (Big Note Solos, 1970)

Wind in the Bamboo Tree (Accent on Solos 1, 1971)

E3

Ensemble" Oriental Bazaar (One Piano, Six Hands, 1986)

Oriental Market-Place (Accent on Solos 3, 1969)

Oriental Wind Chimes (Accent on Majors and Minors, 1969)

MD1

Procession of the Mandarin (Lyric Preludes in Romantic Style, 1958)

Russia

E1

Cossack Dance (Piano Ali The Way, Level 1B, 1971)

Ensemble: Optional Accompaniment to Cossack Dance (Four Hands)

Int 1

Russian Dance (Piano all The Way, Level 3, 1969)

Switzerland

E2

Graceful Skiers (Seven Pieces in Seven Keys, 1983)

E3

Swiss Music Box (Accent on Majors and Minors, 1963)

Vienna

Int 1

Fur Elise (Beethoven, arr. 1987)

Int 2

Viennese Rondo (1978)

D

A Memory of Vienna (1992)

France

E2

Bells of Notre Dame (Le Couppey, arr. 1968)

French Doll (1963)

Little Flower Girl of Paris (Accent on Solos 2, 1969)

E3

A Memory of Paris (Seven Pieces in Seven Keys, 1983)

Int 1

On the Champs Elysees (Accent on the Black Keys, 1964)

Int 2

On A Paris Boulevard (1971)

Ensemble: On A Paris Boulevard (Two Pianos, Four Hands) (1971)

MD1

Holiday in Paris (1958)

MD2

Portrait of Paris (1959)

Ensemble: Portrait of Paris (1971) (Two Pianos, Four Hands)

Italy

Int 1

Barcarolle (Piano All The Way, Level 4, 1969) Harlequin (1964)

Tarantella (Piano All The Way, Level 4, 1969)

Middle East

E3

Land of Pharoah (Accent on Majors and Minors, 1963)

Int 1

Arabian Nights (Piano All the Way, Level 4, 1969)

Bazaar (Accent on the Black Keys, 1964)

Int 2

Bagdad (1969)

Spain

E1

In Sunny Spain (Accent on Majors, 1964)

E3

Costa Del Sol (Seven Pieces in Seven Keys, 1983)

Int 1

Flamenco (1968)

Spanish Gypsies (Accent on Rhythm and Style, 1962)

Spanish Roses (Piano Ali the Way, Level 4, 1969)

Int 2

Castanets (1968)

Sevilla (1944, revised 1986)

MD1

Holiday in Spain (1958)

Ensemble: Espana Cani (Manquino) (1988) (One Piano, Four Hands)

British Isles

E2

The Lute Player (Fanfare and Other Courtly Scenes, 1957)

Stately Procession (Piano Ali the Way, Level 3, 1969)

E3

The Queen's Minuet (Accent on Solos 3, 1969)

Int 1

Hail the King (Fanfare and Other Courtly Scenes, 1957)

A Highland Ballad (Accent on the Black Keys, 1964)

Madrigal Singers (Festival Album, 1957)

Sing We Nowell (Festival Album, 1957)

Int 2

Royal Hunt (Festival Album, 1957)

MD1

Royal Concert (Classic Carnival, 1960)

Latin America and Mexico

E2

Argentina (Accent on Solos 2, 1969)

Int 1

Carnival in Rio (1969)

Ensemble: Carnival in Rio Duet (1969) (two Pianos, Four Hands)

Holiday in Monterey (1958)

Int 2

Ensemble: Fiesta Mariachi (1990) (One Piano, Four Hands)

United States--New Orleans

E2

Dancing on the Levee (Festival Album, 1942, revised 1993)

On the Mississippi (Piano All the Way, Level 3, 1969)

Int 1

Blues Motif (Accent on the Black Keys, 1964)

Canal Street Blues (Still More New Orleans Jazz Styles, 1967)

Dixieland Combo (New Orleans Jazz Styles, 1965)

Downtown Beat (Still More New Orleans Jazz Styles, 1967)

Old Plantation (Piano Ali the Way, Level 4, 1969)

New Orleans Blues (More New Orleans Jazz Styles, 1966)

New Orleans Nightfall (New Orleans Jazz Styles, 1965)

Int 2

After Midnight (More New Orleans Jazz Styles, 1966)

Bourbon Street Saturday Night (More New Orleans Jazz Styles, 1966)

Mardi Gras (New Orleans Jazz Styles, 1965)

Uptown Blues (Still More New Orleans Jazz Styles, 1967)

MD1

Ensemble: Boogie Prelude (Three Jazz Preludes) (One Piano, Four Hands, 1968)

Ensemble: Jazz Prelude (Three Jazz Preludes) (One Piano, Four Hands, 1968)

MD2

Blues Prelude (Three Jazz Preludes, 1968)

Boogie Prelude (Three Jazz Preludes, 1968)

Deserted Plantation (1958)

Lazy Bayou (1987)

Jazz Prelude (Three Jazz Preludes, 1968)

GRADING KEY

E = Elementary (1, 2, 3)

Int = Intermediate (1, 2)

MD = Medium Difficult (1, 2)

D = Difficult

By Henry Doskey, NCTM

Henry Doskey, NCTM, is chair of the Keyboard Department at the East Carolina University School of Music in Greenville, North Carolin. He received B.M. and M.M degrees from Southern Methodist University and a doctor of music degree in piano performance and literature from Indiana University.

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Author:	Doskey, Henry
Publication:	American Music Teacher
Geographic Code:	1USA
Date:	Feb 1, 2010
Words:	1306
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