Mieke Florisson - Composer & Teacher

Leaves After A Rainstorm - For Piano By Mieke
This piece aims to evoke the visual of leaves on a tree, with raindrops falling and rolling off the leaves onto the ground below. The sky is still dark, the air is cold and all the vegetation is thoroughly hydrated. Musically, the arpeggiated figure in the left hand should have a slight enunciation of the highest notes in the chord, falling on the third, fifth and seventh quaver. This will give a slight syncopated feel that will help build momentum in the piece. The melody should be very lyrical in nature, paying close attention to the notes without slurs, which should be played with a careful and sensitive touch. The hands should effortlessly fall over the keys with no awkward movements. Pedal is optional in this piece but can be used if preferred.

leaves after a rainstorm - for piano by mieke © Mieke Florisson 2025leaves after a rainstorm is the ninth piece in a series of etudes composed for my students.This piece aims to evoke the visual of leave...

Do you know the best way to start your year is with some scale practise?
Here are all 24 keys with their similar motion, contrary motion and arpeggios for you to get your fingers moving!

scale table (all 24 keys) 0:00:00 - 0:01:20 C maj 1+2 oct sim0:01:20 - 0:01:50 C maj 1+2 oct con0:01:50 - 0:02:54 C maj 1+2 oct arp0:02:54 - 0:04:37 A nat min 1+2 oct sim0:04:37 - 0:0...

No. 11 - Walking 7ths

Walking 7ths explores the techniques seen in a common jazz structure - a head, solo, head, solo, head. The opening eight bars is the head - with a catchy tune in the left hand with dominant 7th chords in the right hand. Once repeated, there is a short four bar bridge before the first solo. This, is where the walking bassline comes into effect. The bassline should sit comfortably under the solo whilst still being strong and characterful - imagine you are playing the bass guitar. The solo in the right hand is supposed to be interpreted as improvisatory in style and it is encouraged for players to either make their own solo or add their own solos into the piece. Additionally, keeping the underlying swing rhythm and syncopation clear is important, as well as having a good internal rhythm which is integral to maintain a steady rhythmic flow.

walking 7ths - for piano by mieke © Mieke Florisson 2025walking 7ths is the eleventh piece in a series of etudes composed for my students.Walking 7ths explores the techniques seen in a common...

Last Thursday I was invited to give a guest lecture at Fine Arts and Music at Melbourne - VCA & Conservatorium on Neurodiversity and Instrumental Teaching to the "Introduction to Instrumental Teaching" class.
Understanding the nuances to different student learning styles will allow you as a teacher to teach with more compassion, empathy and equity. A student who is properly accommodated will flourish and be encouraged through their music journey.
I spoke to these students about how accessibility helps everyone and that knowing different teaching styles and communication techniques helps build rapport with every kind of student, not just those who are neurodivergent.
I also spoke about how to handle teaching as a neurodivergent person and how to use your strengths to your advantage to become the role model that students need to see in their schooling.
I feel really honoured to have been invited to talk on a topic I feel so passionate about and give my expertise to the different learning styles of people for the next generation of music teachers.
I look forward to come back next year to give my talk again.

No. 10 the big one five

The big one five explores the use of changing metre, cycling 1/4, 2/4, 3/4, 4/4 and 5/4 (totalling 15 - one five). The left hand emphasises D (the tonic) at the beginning of each bar to help secure the feeling of beat 1. Along with the cyclical metre changes, this study explores the use of a strong octave hand position and the ability to move between octave positions, securely and accurately without causing strain or fatigue on the hand. This becomes more apparent in the final two lines where the right hand also plays a lot of octaves, whose positions need to be found very quickly. Be sure to practise keeping the whole arm relaxed when playing the octaves, allowing no tension in the shoulder or forearm, instead, aiming for a bouncy, relaxed wrist motion. The contrast in the B section - where we shift into the dominant key of A is important as it is the only place where there are no octaves. Creating a good dynamic and thematic contrast here will help the build up the intensity towards the ending.

the big one five - for piano by mieke © Mieke Florisson 2025the big one five is the tenth piece in a series of etudes composed for my students.The big one five explores the use of changing metre,...

https://youtu.be/9QdQWlnxaBI?si=Z6110-g74l9ECN1k

Getting back into uploading the AMEB piano comprehensive syllabus - probably my favourite piece to date.

wistful prelude - list D no. 4 AMEB grade 5 piano Australian Music Examination Board - Grade 5 Piano Series 18List D no. 4 Wistful Prelude - Geoffry Russell-Smith

It's been a little while, but now that uni has finished I will have more time to compose.
No. 7 a graceful waltz
A Graceful Waltz is a study that explores the use of acciaccatura (grace notes) in the right hand to add a small flick before the main beat. This should be done with a stable and secure hand, avoiding sounding the notes simultaneously. The minor key of this piece aids in creating a slightly uneasy feel to the tune - perhaps a haunted waltz? The shift in rhythmic speed in bar 23 should not disrupt the waltz feel, emphasising the downbeat. The right hand needs to pay attention to the choice of fi*****ng so which to allow the hand to move through the quaver passages with ease. The lead back to the segno can have a slight ritenuto to add suspense. When learning, start with omitting the grace notes to understand the rhythm, and then add them back in before playing hands together. Remember that in a waltz, which is a dance in 3/4 time, beat one is most important with beats 2 and 3 having less emphasis. At a fast tempo a waltz can practically be felt in 1 (one dotted minim beat per bar). Thinking this way can help achieve the waltz feel and tempo.

a graceful waltz - for piano by mieke © Mieke Florisson 2025a graceful waltz is the seventh piece in a series of etudes composed for my students.A Graceful Waltz is a study that explores the use ...

https://youtu.be/pe7u9X3zFNg?si=im9CKN_YpumOzUCG

Here is my most recent composition for my students:
no. 8 - Allegro
Allegro is a simple homophonic (melody and accompaniment) study, utilising the Alberti bass figure as the left hand accompaniment pattern. The lighthearted harmonic structure beginning in D major, modulating to the dominant key A major, near the coda, creates an uplifting and pleasant sound. Pairing the harmonic progression with a steady and lively speed will help create the desired mood. The use of articulation in the right hand is very intrinsic to the piece’s character. The slurred groups ending with a staccato need to be carefully played. Think of the staccato as a “float off”, a lift of the hand at the end of a slur to create a light, bouncy feel. To help cement this articulation on the repeated notes of the right hand, the fingers will switch on the same note, ensuring that the tenuto markings are observed.

allegro - for piano by mieke © Mieke Florisson 2025allegro is the eighth piece in a series of etudes composed for my students.Allegro is a simple homophonic (melody and accompaniment) st...

https://youtu.be/i27d5GZxsV0?si=cIgTaURs0HV9Btm8

midnight snack list C no. 3 - AMEB grade 3 piano Australian Music Examination Board - Grade 3 Piano Series 15List C no. 3 Midnight Snack - Sony Chua

https://youtu.be/E2FOM_zKekI?si=dfgu1x107lTG7jbO

An 18th Century Chandelier, the last etude I have currently written for my book. More to come, stay tuned.

an 18th century chandelier- for piano by mieke © Mieke Florisson 2025an 18th century chandelier is the fifth piece in a series of etudes composed for my students

Nimbostratus is a new piece from my series of etudes.
This one is particularly special as it explores free rhythm and personal expression/interpretation. I look forward to hearing the ways my students play this piece.

nimbostratus - for piano by mieke © Mieke Florisson 2025nimbostratus is the fourth piece in a series of etudes composed for my students

whimsical arpeggios is piece no. 2 in my series of pieces for my students.

whimsical arpeggios - for piano by mieke © Mieke Florisson 2025whimsical arpeggios is the second piece in a series of etudes composed for my students