Most of the eighth note figures are symmetrical for the hands: 2-3-2, or 3-4-3, or 1-2-3-4.
The reading is uncomplicated as the melody moves mostly in steps and skips, with fingering provided for the skips and occasional 4th. No fifth fingers are used. No hands together.
The counting is straightforward – quarter notes, and eighth note pairs.
The articulation is predictable: quarter notes staccato or (rarely) tenuto, eighth notes legato.
As a Gavotte is a dance, very crisp and bouncy staccato notes are probably the most important.
4-measure phrases, ABA1 form, each section 16 measures long.
The first A section can be played by itself as a complete piece.
Predictable hand movement, usually step-wise. No 4th or 5th fingers are used.
No hands together.
A student at this level may not have enough experience reading the higher treble clef notes. Like the other pieces, this one can easily be taught by rote as well.
For the dotted rhythm, it may help to compare it to the beginning of Silent Night or similar songs a student may be familiar with.
4-measure phrases, ABA form, each section 16 measures long.
The A section can be played by itself as a complete piece.
This waltz uses fingers 1-2-3, very rarely 4th finger (once in LH, once in RH, and twice optionally in LH). Most hand movement is step-wise. Hands together only for the last two notes.
The reading / playing is easier for a student who has some familiarity with sharps / black keys.
A-A1-B-A-B1 form, each section eight measures long. There is a shorter version that uses only the last two sections, A-B1
While it is not an actual – known – song, it has the elements of a children’s song:
– simple rhythms – half notes, and quarter notes make the counting easy;
– a melody that moves in steps and skips;
– predictable four-measure phrases.
Steps and skips make the reading easy. Most hand movement is either step-wise, or from contracting the hand – moving 3 next to 1. No fifth fingers are used.
This piece will definitely benefit from a student’s experience playing hands together.
The two main challenges here are the unexpected harmony in m. 5 and similar places (the only sharp in the entire song), and the need to pay particular attention to the articulation – legato, staccato, two-note slurs, to keep it from sounding mechanical.