How to play the chicken dance on piano

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The Chicken Dance Sheet Music | Terry Rendall

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Product Details

Artist Terry Rendall
Score Type PDF
Composer Werner ThomasTerry Rendall
Arranger Fishel Pustilnik
Format Digital Sheet Music
Pages 4
Arrangement Piano Solo
Publisher F & N Enterprise
Product ID 732119

Product Description

An excellent arrangement of the famous Song "The Chicken Dance" (Dance Little Bird) for Piano-Jazz/Pop Version.

The video for Piano: https://youtu.be/pGc4An4ibTE

The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books "Jazz & Pop Piano Paradise" (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands of books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia, and the UK markets. "This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8." Lore Ruschiensky, Editor, (from the review in "The Canadian Music Teacher") "Yesterday I spent at least two pleasure-filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. " Review from Dr. Jack Behrens, B.Sc. (Julliard), Ph.D. (Harvard), Director of Academic Studies, The Glenn Gould School "I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume". Mark Carlstein, Hal Leonard, Keyboard Publications.

Additional Information regarding my arrangements at SheetMusicPlus:
https://www.facebook.com/arrangementsofsheetmusic/

This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

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Susanna Oganisyan - Volgograd Film and Television School

SUSANNA OGANISYAN

- Susanna Zorakovna, tell us a little about your childhood. Who did you dream of becoming?

- I was born on August 24, 1995 in St. Petersburg, in the family of a military man and a teacher of Russian language and literature. Since childhood, my mother took me to different circles. Therefore, I attended such classes as: English, dancing, circus studio, music school (piano class). What did I dream about then? And I dreamed about this: to throw the piano off the eighth floor where we lived, burn the notes and be a sorceress, like in my favorite childhood TV series "Charmed". It's such a unique and interesting world... good and evil... angels and demons. But my plans were thwarted by one phone call. Mom got a call from her friend, who at that time was opening a theater studio and invited me to come to a few classes (just for the number of children), let's say - to create a mass. My mother did not refuse and took me there. It so happened that I lingered in this theater studio. And then festivals, city events, competitions began. I participated everywhere and I was drawn in so that I told my parents that I was going to become an actress. I was in the fifth grade at the time, but my decision didn't change until graduation. By that time, I had already graduated from the Magic Flute theater studio, was a laureate of various theater children's festivals and was preparing for the creative stages of admission. Mom supported me in my decision, but dad wanted me to do something more serious. For example, so that I enter the military or in the Ministry of Emergency Situations, the Ministry of Internal Affairs. But my decision was unshakable and dad had to put up with it. In 2013, I became a student at St. Petersburg State University. And since 2017, I have been a graduate: Drama theater and film actress (red diploma). Happiness knew no bounds - the dream came true!

- At a young age, all girls have idols - actors, singers. Tell me who was your childhood idol?

- To be honest, I didn't have any idols, and even now I don't have any. It may seem strange, but I am such a person. My parents have always been my role model. But speaking about the profession, if I can go to anyone on purpose, look at the cinema, the theater, at my 25 years old and take something into account, then this is, of course, Konstantin Khabensky, Evgeny Mironov, Chulpan Khamatova, as well as Ivan Yankovsky.

- In 2017, you graduated from St. Petersburg State University. What are your memories of your student years?

- I often think about the years of study. We spent whole days at the university, working on our skills, rehearsing, creating an atmosphere of creativity and were constantly in training, at work, in good shape. That feeling when you rush to the couples and think - “what can I show you today to conquer everyone?” - it cannot be expressed in words. The corridors are always clogged with decorations and guys from other courses. Jokes, improvisational songs between couples, sometimes fighting over shared props, swearing over who was on duty today - it was all our life. Watchmen with various stories from their lives - this is a separate nostalgia. I remember every rehearsal of teachers and their advice. Therefore, feelings for Alma Mater are only positive. After all, it is thanks to the university that I am moving towards my goal.

- Since 2018, you have been serving at the April Theater (Lodeynoye Pole). What roles do you play? Are any of them difficult?

- The biggest and most important role given to me by the theater "April" is the role of my wife. After all, it was here that I met my husband - actor Artyom Kalinin. For three years of work in "April" I have accumulated 8 adult performances and the same number of children's. Soon the number will increase, as we are preparing premieres. Playing performances for children is a joy and pride for me. I am totally into them. True, it became difficult for me when our director announced that I would play a bully kid named Johnny from O. Henry's story "The Leader of the Redskins. " I am a boy... It became a kind of test of myself. For the first time I tried to cast a drag queen role. And you know, I liked it. And what do you think? The director didn't stop there! He gave me the role of the Rooster in the adult performance "A Very Simple Story" based on the play by M. Lado. To say I was shocked is an understatement! At first, I resisted inside myself, did not understand, asked “why me”? “After all, there were actors left - guys who were not involved in the play, who would be suitable for this role.” At first I rehearsed through force, and then in the process of rehearsals the role suddenly poured through my veins and I caught the buzz that I get from playing on stage. And judging by the feedback from the audience, by their reaction to my character, I achieved the desired result. These are the difficulties. But I am grateful to the director for taking me out of my comfort zone and revealing the other side of me as an actress. In general, dramatic and tragic roles are easier for me. The roles of Tosya Kotik in one of my first performances “This, Girls, War” (T. Drozd) and Barbara in “Solar Line” (I. Vyrypaev) are more or less close to this formulation. The rest are comedic roles. Here are some of them: Secretary Jane Worthington, play "He, she, window, dead man" based on R. Cooney's play "Number 13", Yulia from the play "We are fools" by D. Salimzyanov, Angelica "New Year forever" by E. Skorokhodova . Well, where without a chicken, crows, monkeys, pirates and princesses from children's performances.

- Do you have a dream role?

- Yes. There is a dream role and this is Helen Keller from W. Gibson's play “The Miracle Worker” (based on real events). During my studies, I touched her when we made excerpts from foreign dramaturgy. It turned out to be a very good, sincere and dramatic passage, which I often review. I would like to live in all this in a full-fledged performance. But as far as cinema is concerned, there is no specific role. There is a genre in which you want to play. And this is a fighter. In general, at the beginning of my journey in cinema, I want to play everyone. Recently I was an immigrant, in another series a killer, I'm interested in everything!

- How do you spend your free time?

- Always different. I walk, read, watch movies. I love movies based on real events. Since I am obsessed with cleanliness, at any free minute I start washing something in the apartment. It takes a lot of time to search for castings, record self-tests. Recently I discovered the profession of an assistant - a foreman for the actors of mass scenes. Recruited for the documentary-historical project of the mass media. Prior to that, she helped her young colleagues - actors to get their first film roles, tried on the role of a casting director. I'll tell you a secret: I plan to spend my free time getting a second higher education and creative courses.

- Do you like to read? If so, who is your favorite author?

- I love you. But I honestly admit that it’s not every day that you can catch me reading a book. But I read quite often. I don’t get hung up on any one author, some people like reflections and life position, some moments of the description are deliciously spelled out, and some characters are curious. From the classics I prefer A.P. Chekhov, N.V. Gogol, F.M. Dostoevsky. P. Coelho is interesting, E-M. Remarque, D. Fowles. What I have never read is motivational literature. I'm talking about books that teach you how to live, cope with certain circumstances, love yourself and so on.

- What would you wish to the students of the School of Film and Television "Content Cinema"?

- I wish you never give up. Be in harmony with yourself and the world. And of course, to find the very happiness without which you cannot live.

Interviewed by: Andrey Averin, journalist for the film magazine Content Cinema.

Photos and videos from the personal archive of actress Susanna Hovhannisyan.

Artistic director: Anatoly Belyaevskov.

Volgograd Film and Television School "Content Cinema".

http://kinoschkola-volgograd.ru/

http://kinojurnal-contentcinema.ru/

Jam`s cool music school for children and adults

term and there is only a piano in the cell? Then we have something for you... From Liszt to Scriabin - 10 of the most technically complex pieces ever written for piano.

Piano teacher Amir Jam's cool founder, curriculum author

The complexity of any piece of music, including piano works, lies not only in monotonously repeating the notes written on the sheet of the score, but also in the transmitted melody, the spirit of the music, the transition from forte to pianissimo, changing the key, etc. The complexity of the work lies both in the technique of execution and in the virtuosity of its performance.

Even basic etudes and polyphony may seem difficult for any novice musician, but as you hone your skills, you will be able to “take” more and more interesting and complex pieces into your repertoire.

FREE LESSON

1. Franz Liszt - La Companella

La Campanella, which means "bell" in Italian, is a piano transcription of the violin piece of the same name by Niccolò Paganini. The etude is considered one of the most difficult compositions ever written for the piano. The texture of "Campanella" includes huge jumps in the left hand, while the right gets complex passages at a very fast pace.

In this video, virtuoso pianist Lang Lang plays this piece so easily, as if it were not much more difficult than "Dance of the Little Ducklings".

Maurice Ravel - Gaspard at Night (Visions of the Night)

When Ravel was working on the Gaspard de la Nuit suite, he deliberately wanted to make it the most technically difficult piece in the piano repertoire. He said that when writing, he was guided by Balakirev's Islamey, wanting to surpass him in complexity. One of the leading pianists said that playing this piece "is like solving endless quadratic equations in my head."

Kaikhosru Sorabji — Opus Сlavicembalisticum

Playing this piece is even more difficult than pronouncing its title. Opus Clavicembalisticum consists of 12 actions with a total duration of more than 4 hours. The composer himself described his composition as follows: “The last 4 pages are as catastrophic as everything I have ever done - the harmony stings like nitric acid, and the counterpoint grinds like the mills of God.”

Conlon Nancarrow - Etudes for Mechanical Piano

The American composer Conlon Nancarrow's works for mechanical piano are some of the most deliberately complex, frantic pieces of music in the piano repertoire. They are designed to be played on a mechanical instrument, not played by live pianists. But this does not mean that no one tried…

Fryderyk Chopin — Etude Op. 10 no. 4

Unlike Chopin's gentle nocturnes, this etude leaves the pianist no chance to rest. Marked presto con fuoco (fast, with heat), it requires an extremely fast pace and constant mobility in both hands.

Daria, Jam`s cool piano teacher:

“The most difficult thing for me to perform this piece was the coda, after which there is a crazy passage all over the keyboard up and then down. By the end of the story, you are usually exhausted, but here the climax falls on the last page. And, of course, like any study, No. 4 took a lot of time to develop the necessary technical skills.”

Charles Valentin Alkan — Piano Concerto

Alkan's concerto is rarely played live, and for good reason. The epic 50-minute job requires unprecedented technique and physical endurance. Alkan's melodies are not as pleasant and catchy as those of Chopin or Liszt, but he certainly knows how to best demonstrate virtuoso technique.

Alexander Nikolaevich Skryabin — Piano Sonata No. 5

Alexander Scriabin's Fifth Sonata makes the most of the technical capabilities of both hands, but the main load falls on the pianist's brain. The sonata was received with bewilderment by many contemporaries. For some of them, it became the line from which they refused to accept the composer's work.

Igor Fyodorovich Stravinsky — 3 fragments from "Petrushka" for piano

3 fragments from "Petrushka" is called one of the most difficult piano compositions. All parts include numerous glissandos, tremolo and fast 2-octave shifts. As they say, it's not for the faint of heart.