What to teach?

[chidi]

Alrighty, I was playing in one of our dorms (even though if they find out that I don't live their they'll kick me out) in our University and a girl, who has been on and off on the piano, asked me to teach her a piece, one that is fast and impresses, well preferably people that don't play the piano. I played a few pieces like, Un Sospiro (don't know what I was thinking when I played this, don't even know it all), Malaguena, Etude Op. 25 no. 1, Prelude Op. 32 no. 12, and a few others. And she decided she wanted to play Malaguena.

She's played some Rachmaninoff Preludes (such as Op. 3 no. 2), Debussy (such as Clair de Lune), and Chopin nocturnes (Op. 9 no. 2) and others. And she is currently trying to learn Rhapsody in Blue. However she has not completed most of these pieces and was looking for a new one that sort of fast and showy that she wants to learn completely. I haven't really heard all her other unfinished pieces because she played some and ask and left.

So, is Malaguena a good choice since she also says that she doesn't want it too long or technically difficult for her. I wouldn't say that I'm in the position to teach this, but it was actually taught to me by someone so I sort of have everything down.

If not, would you all care to suggest any other pieces that you think might match her level and vague description? I'm studying so I don't really want to bother looking right now.

Thanks

-Chidi

[pianistimo]

malaguena is grade 8+ according to the grading here at pianostreet.  and, yet there are different versions of it - and also different difficulties according to what cadenza you put into it.  the version posted here doesn't look too bad.  i would first teach her all you know about rhythm.  drawing straight lines in pencil down through both staves on the main beats.  clapping some rhythms  (tri -puh-let  duu  ple   tri - puh- let  duu  ple)  etc.

sometimes - with some students i've had before - i made up my own 'rap sheet' - and have three or so lines of various rhythms that they have to clap for me.  it helps to be able to sightread rhythm as well as read the notes.  separating the two items seems helpful.

i used to play staccato from above the keys - but was recently taught that you can do a staccato from being pretty much right on the key and bouncing off as though you slightly tap yourself away from the keyboard.  some kind of repelling action.  this has helped me control my technique so much more.  when hands are too high - you lose placement.  you don't want her to get carried away with the staccatos and wonder where she is - so keep them low and effective.  sort of like typing on a computer keyboard.  just a quick release - that's all.