1. Album for the Young, Op 68 By Robert Schumann Review and Refine Basics of Touch and Tone with Transfer Students

2. Exploring touch & tone, developing control: melody & accompaniment. Try curved fingers for melody, flat for accompaniment. Think down or heavy for melody, up or light for accompaniment. Melody-arm circle accompaniment- rotation. Finger pedal for richer tone in bar 7 perhaps bar 9 & 11. Over hold LH descending line as quarters. Possible dabs of pedal to enhance tone. Legato fingerings: possible 4-5 in LH, bar 11. Substitutions, RH, bars 8 and 11.

3. Bach’s fingerings From WF Bach Notebook inspire scale practice with finger pairs.

4. Finger pedal: LH line as quarters-then just slight lengthening of beat eighths. Notated RH finger pedal, bars 9-15 Legato finger pairs: 4&5, bar 1, LH 5,4,5, bar 10, RH

5. Legato fingerings Preceded by study of adjacent finger pair scales: 1 & 2, 2 & 3, 3 & 4, 4 & 5. Substitution scales: 1-2, 1-3, 1- 4, 1-5, then with finger pairs. Double note 3 rd scales: 3-1 & 4-2; 3-2 & 4-1. Keys of C & D- flat or all keys. Practice: Melody alone Melody & bass RH LH All Basic legato pedal: up on quarter beat 1, down on beat 2.

6. Finger legato LH divided hand: m. 21 (2 voices) Enhancing linear texture with bits of pedal.

7. Typical Romantic texture: melody, bass, accompaniment. Practice: Melody, Melody & bass Melody & blocked accompaniment accompaniment HA All Divided hand: 2 voices in RH Coloring with pedal

8. Enhancing with pedal: another choice

9. Skills already developed: Legato finger pairs Substitutions Divided hand Pedal to sustain & color Practicing melody & bass for aural image. Divided hand, RH LH arpeggios & arm gesture. Interpretive guide: broken chord as melody- crescendo broken chord as accompaniment - diminuendo.

10. Having mastered voicing a texture of melody, bass, accompaniment; legato fingerings; coloring with pedal, students are equipped to learn this most beautiful piece.