Zenobia Powell Perry
Rhapsody by Zenobia Powell Perry is an expansive piece with six distinct sections of varying characters, tempos, and lengths. Sometimes the sections build off of each other, and other times they have sudden, abrupt transitions. The first three
Round and Round is a short, 2 minute piece composed in 1990 as part of Zenobia Powell Perry's Piano Potpourri. The piece is written in 6/8, which helps teach students how to internalize and practice in different meters. The motion of
Homage is a movement in the set Piano Potpourri. Composed in 1990, it employs a wide variety of different textures and techniques, including octaves, dense chords, and chromaticism. Homage is dedicated to black composer William Dawson, and is
Times Seven is a 6-minute, 7-page piece composed by Zenobia Powell Perry in 1985. The title "Times Seven" may be based on a passage from Matthew 18:21-22 from the Christian New Testament, but there is no source to conclusevely prove that. This
Blaize is a short, two-minute piece written by Zenobia Powell Perry in 1985. A rhythmic and muscular piece, it sounds very chromatic, and almost never lands on a cadence until the very last measure. It is built mostly
"Promenade" is a 3-minute piece by Zenobia Powell Perry. It has an ABA structure. The A and B sections have very different characters. Section A sounds like a joyful and upbeat march with two paired phrases. At the end of the second phrase, the
“Vignette No. 1” is a short, elementary-level piece that has only 17 measures. It was composed by Perry in 1990. The composer suggested to play it in Moderato tempo and mezzo-forte dynamics. It does not require the use of pedal. When playing this
“Orrin and Echo” is a short piece that is less than a minute. It is in the late elementary to early intermediate level. Some chords are introduced in the left hand. It uses an ABA form with repeats. For the first part of this piece, the right hand
“Ties” is a short, one-page, early intermediate piece with two beautiful melodies happening at the same time in both hands. As the name implies, this piece features frequent ties in both hands. It is a great example of the use of counterpoint in
“Flight” was written by Perry in the 70s. This is a 4 page late intermediate piece that should be played in a fast tempo (presto). It explores the range of the piano from E1 to F#7. It involves lots of chromatic pitches and dissonant harmonies. The