The pieces contained in The Nine Glens of Antrim are around grades 2-4 standard.
This needs a confident approach with dramatic fanfares. The dotted triplet rhythm needs good finger control, especially challenging to the 4th and 5th fingers. The two rapidly descending right hand scales of Ab major and Bb major will develop fluency. Total conviction required for the final chord!
This is played entirely on the black keys, and is much easier to play than it looks. The focus is on accuracy of mastering the two note chords so that they sound exactly together.
This is also easier to play than it looks as there are only three chord shapes involved. The opening sea section needs to be played with conviction. The central cave section needs careful highlighting of the stressed notes and very sensitive playing. A mastery of counting skills is essential!
A magical atmosphere needs to be created - along with very even semi-quavers. Cross patterns require the development of independence between the right and left hands. Don't be tempted to play this too fast!
The main challenge of this piece, which is played on the black keys with the sustaining pedal held down throughout, is restraint. The piece needs careful counting, especially before you begin. To create an otherworldly, enchanted atmosphere, treat the melody with gentle intensity. Fluency of fingerwork is required in the semi-quaver passages.
If you wish to play this successfully, you will need to listen to birds singing! - and the sounds that you are creating. Lots of agility is needed in the hands-crossing sections, with very even finger work. Again, this is much easier to play than it looks.
A very delicate and sensitive touch is required, with careful pedalling, to create the sound of cascading water. The pacing of the music is a further challenge, and agility is also required for the hands-crossing sections.
This piece is very straightforward and needs careful phrasing of the melody and a steady left hand. Play the melody strongly against a soft left hand accompaniment at bar 17.
The main challenges of this quiet piece are the 'Scotch snap' and the chord shapes of the left hand.