The Piano Teacher’s Survival Guide: the winner is…

Many thanks to all who took part in this weekend’s competition. The prize is a copy of the new Faber Music book, The Piano Teacher’s Survival Guide written by Anthony Williams.

The winner is…

JULIE REEMAN

Congratulations! Please send your address via the contact page here on my blog, and your book will be on its way!

You can find out more about this publication, here.


 

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The Piano Teacher’s Survival Guide: Weekend competition!

Continuing with my recent focus on Faber Music’s Piano Month, pianist, teacher and ABRSM examiner Anthony Williams has contributed the following interesting guest post about the perils and pleasures of piano teaching, in relation to his new book. The Piano Teacher’s Survival Guide (published by Faber Music). This generous volume contains so much useful information for piano teachers everywhere.

Anthony’s post is entitled, A Journey for Survival, and it first appeared in the Faber Music Piano Catalogue, which you can read here. I have one copy of this book to give away, and If you would like to win please leave your comment in the comment box at the end of the post. I will pick a winner on Sunday night, British time (do check my blog on Sunday evening to see if you’ve been selected). Good Luck! Over to Anthony…


I remember vivdly, and with some embarrassment, giving my first piano lessons to young piano pupils in North London. As a young concert pianist I had no previous experience in piano teaching but parents who had heard me play thought that this gave me the expertise and understanding to teach their son or daughter. I loved teaching but it was a huge responsibility and I fear I bluffed my way through, always acutely aware of my fallibility and failings. Despite my best efforts to find out more about teaching at this level I found it very hard to glean much advice from colleagues or to find any books which gave me the fundamental knowledge or appropriate musical strategies that

I needed to teach young pupils.

In an effort to find out more, I made the development of a free and relaxed technique the focus of my Master’s degree and, whilst continuing a performing career, devoted myself to piano teaching and to developing my own expertise and understanding. I explored, researched and analysed recordings and videos of my own teaching to discover what worked and, of course, what didn’t, and I consulted with more experienced teachers. Eventually I found myself talking to and discussing teaching in seminars and became a mentor and tutor on a number of Professional Development Courses. As a result I have had the privilege of sitting in on hundreds of piano lessons given by other teachers, naturally embracing some of their fabulous ideas to use in my own teaching and hopefully offering some of my own in return.

More recent presenting work and masterclasses over a number of years have given me the opportunity to explore areas of teaching in even greater depth, to share ideas in more detail and to pass these on to other teachers, both in the UK and internationally. It wasn’t long before I had a huge resource of material on all areas of piano performance, piano teaching and piano technique and I found myself being contacted regularly by piano teachers asking for help on specific areas of their teaching. Keen to do this, I also promised numerous times that I would eventually put all my thoughts and pooled knowledge in one place and the idea (though not the title) of The Piano Teacher’s Survival Guide came to mind, and for some time was an ambition close to my heart. A sabbatical and some much-needed encouragement from Faber Music finally encouraged me to put in the work and the book became a reality.

It’s not a ‘how to teach’ book, it’s a book of ideas, thoughts and fundamental principles, and yet I wanted it to be more than just a sharing of information about piano technique and performance. In my early years my inexperience as a teacher meant I often neglected the musical imagination and creativity that inspires pupils to put in hard work and practice. I now strongly believe in putting communication, a love of the beauty of sound and an understanding of the physical relationship with the piano at the heart of teaching to nurture a truly instinctive and musical performer. Combine this with a relaxed, balanced and instinctive (rather than drilled) physical approach to the piano and you allow the natural personality of the performer to emerge. This philosophy became the overwhelming context of the book and linked all the threads together.

The Piano Teacher’s Survival Guide is a comprehensive and practical guide providing essential advice for all piano teachers. Aiming to improve and develop confidence in teaching skills and piano technique, the book focuses on the best ways to support pupils and develop their love of the piano. Featuring many case studies, musical examples and problem-solving clinics, this is a rich resource of basic principles, useful tools and thought-provoking ideas.

 


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

 

 

 

 

 

 

Attending a Piano Pedagogy Conference

Until last week I had only ever attended one piano pedagogy (teaching) conference, and had never participated in such an event; so it was with a spirit of adventure (as well as slight trepidation) that I ventured into the unknown. After a successful trip to the Far East over the Summer (where I gave three weeks of classes, lectures and workshops), I was invited to present at the UCSI University Piano Pedagogy Conference 2017, in Kuala Lumpur (Malaysia). It was an offer I couldn’t refuse; I’m accustomed to travelling around the world alone (having done so for years as a young pianist), and find the challenge of working in exotic places simply irresistible.

Piano pedagogy conferences appear the world over (with arguably the most well-known being held in the USA and Australia). The UK equivalent is organised by EPTA (European Piano Teachers Association) and is usually a three-day marathon. Most conferences offer a continuous stream of master classes, workshops, lectures, recitals and presentations given by various expert pedagogues, with the aim of inspiring teachers and students.

By all accounts, they can be somewhat dull, dry affairs (or so I’ve often heard), where groups of teachers might congregate to discuss the benefits of the five-finger position (or not, as seems to be the case these days if you read the raft of comments on the various online piano teaching forums!). Luckily, I have found students and teachers in Malaysia in particular, more open to different ideas and teaching practices. This was bourne out during my Summer trip, where learning and sharing were the order of the day everywhere I worked.

The UCSI University is often considered the number one higher education institute in Malaysia, in terms of music; its Institute of Music is very active, offering its student body recitals, master classes and prominent Malaysian teachers. Headed by Dr. P’ng Tean Hwa (who runs the department;  pictured above, closing the conference in the concert hall), the institute is thriving, with a new concert hall and music building (which had opened only the day before the conference). Assistant Professor Dr. Christine Tan and her team of organisers had paid meticulous attention to every detail, so that both presenter and participator should want for nothing. I stayed in the hotel at the campus; which, rather like the concert hall, had only opened very recently.

This was the university’s first piano pedagogy conference and it featured two action packed days (6th and 7th November). Conference attendees consisted of a mix of teachers and students. The students were primarily drawn from those studying at the university (fortuitous students indeed; I don’t remember anything of this nature being held at the Royal College of Music during my student days), and the teachers were largely local, although there were some from Indonesia and other nearby countries.

The key-note speaker, Professor Dr. Michael Campbell, gave a series of master classes and workshops, including an interesting improvisation lecture, where four students (using two pianos) experimented with ‘group’ improvisation. Dr. Campbell closed the conference with a recital which encompassed a large selection of styles and genres; from Scarlatti and Mendelssohn to Bartók and Fats Waller.

The Plenary speaker, jazz pianist Michael Veerapen, is a renowned figure in the Malaysian jazz scene. Michael gave a master class, several lectures and a jazz concert complete with band. Both speakers also took part in a pre-conference event the day before (5th November), offering further workshops on their specific specialties.

Sandwiched in between the keynote speakers were a group of presenters, including myself. Each presentation lasted 35 – 40 minutes, with a brief Q&A at the end. We spoke on an extensive selection of topics, and those I attended were fascinating. Musicologists picked subjects close to their heart, like Decoding Idiosyncratic Hairpins of Schubert, Chopin and Brahms—Dynamics or Rubato?  (given by Dr. Cheong Yew Choong) and then there were the practical workshops, which sometimes required audience participation, such as Nurturing Musical Abilities: A Creative Movement in Piano Lessons Using Dalcroze Eurhythmics Approach (given by Dr. Onpavee Nitisingkarin; pictured at the piano (above) with a keen group of conference attendees).

Austrian pianist Dr. Andreas Eggertsberger’s lecture was very informative, focusing on a much debated issue, Focal Dystonia. The talk, entitled Focal Dystonia: My Experience with the Injury, highlighted this debilitating physical problem of which many are not even aware. Focal Dystonia is, by all accounts, similar to repetitive strain injury or tendonitis. Dr. Eggertsberger carefully plotted his story, illustrating how he managed to find his way back to relative health, demonstrating  the patience and resilience required to ‘re-learn’ to play by acquiring a more secure, solid technique (technical issues are frequently the cause of physical injury).

I felt fortunate to be able to talk about my new piano course, Play it again: PIANO (it’s often deemed inappropriate to openly ‘advertise’ your own publications at conferences, but such rigid views aren’t upheld in this part of the world). My presentation (pictured to the right), entitled Developing an Effective Programme for Those Returning to Piano Playing, touched on the need for this student demographic to have a progressive, graded collection of pedagogically sound pieces, with plenty of technical help, enabling them to easily re-acquaint themselves with the instrument. My lecture was indeed popular (with around 75 in the audience; as seen in the photo below) and a fair few books were sold too.

We were treated to a splendid array of culinary delights over the two days, with a variety of tasty Malaysian dishes, all included as part of the conference. During these extended breaks, teachers and students could mingle, network and discuss the pleasures and perils of piano teaching. There was also an opportunity to purchase piano music, piano memberships and the instruments too, courtesy of a trade floor in the basement of the building.

I really enjoyed making new friends and acquaintances, and found the whole event a stimulating, worthwhile learning experience. I hope to attend many more piano pedagogy conferences in the future.


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Practising Nocturne No. 20 in C sharp minor Op. Posth. by Fryderyk Chopin

I wrote about practising this beautiful Nocturne a few years ago (you can read the article here), and it has become one of my most ‘viewed’ blog posts. This work is now especially popular partly due to the fact that it is on the current ABRSM Grade 7 syllabus (2017 – 2018). I was invited to rewrite the article for EPTA’s Piano Professional magazine; it was published earlier this year, and is more in-depth than the first one, with a few different practice ideas. I hope you find it of interest.


Fryderyk Chopin’s Nocturnes offer a rich array of depth, emotion and expressivity. Written between 1827 and 1846, they consist of 21 short pieces. The genre was developed by the Irish composer John Field, but Chopin expanded on this original conception, producing what are generally considered to be amongst the finest short pieces ever written for the instrument. This Nocturne was composed in 1830 for Chopin’s older sister, Ludwika, and was first published 26 years after the composer’s death. It is frequently referred to as the ‘Reminiscence’ Nocturne.

The Nocturne typically constitutes a romantic, dreamy character, suggestive of the night. The main feature of most Nocturnes is a beautiful song-like melody, often with melancholic overtones accompanied by a rolling unobtrusive bass. Ornament passages and filigree in the melody are commonplace, and the importance of the sustaining pedal cannot be overestimated, bestowing the overall dramatic effect. There are many variations, but the formula has produced some of the most haunting, emotional and exquisite piano music.

Whilst Nocturnes are generally slow and may sound fairly ‘straightforward’, in practice, nothing could be further from the truth. A Nocturne, or any similar slower paced work requiring a cantabile (in singing style) touch and a deep connection with the key bed in order to produce a full, rich timbre, needs specific practice methods, and those ideas presented here could therefore be applied to a host of similar works.

During 2017/18, the piece featured on the syllabus of the ABRSM (Associated Board of the Royal Schools of Music) Grade 7 piano exam. So with this in mind, here are a few practice suggestions for students to digest and apply, with the intention of making the path to examination success a little smoother.

The opening chords can present a few problems and need consistent balancing; an active, strong fourth and fifth finger (used to colour the top line) must be combined with a ‘soft’ approach in the wrists so as to cushion the sound. A daunting opening such as this, where each note must sound fully, should ideally be voiced perfectly and yet still extremely soft. The trick (other than trying the concert or examination piano first!) is to focus on the top note (or melodic material) making quite sure it’s completely legato; ask students to change fingers, where necessary, keeping the legato line, and then combine with sparse pedalling. By making sure arm weight is transferred to the fourth and fifth finger (experiment by moving the right hand and wrist slightly to the right, away from the body, therefore providing more support for weaker fingers), pupils should be able to produce a full sound in the melody line allowing other notes  (accompanying chords) underneath to fade into the background.

I encourage students to join fingers wherever possible in a legato melodic line – it’s more effective than relying on the sustaining pedal. Play the remaining notes in the chords with a very relaxed arm and wrist, depressing the keys slowly, testing the key bed, checking where the sound kicks in. Note too that the repeat of the opening chordal passage must be played much softer, like an echo. Here’s the passage;

And the melodic line, which needs special attention (with suggested fingering);It can be helpful to practice the inner parts of the chords (as shown in the first example here) on their own, gauging the necessary feeling, balance, and sound in order to play sufficiently quiet, yet altogether. Add the top (melody) line when secure.

After the introduction, the remainder of the piece consists of a rolling, quaver bass constructed from arpeggio or broken chord figurations over which a captivating right hand melody prevails. There are many different layers of sound in this work requiring a whole gamut of touches and pianistic colour; the three layers at the opening can be separated and practised in isolation (from bars 2 – 5);

  1. The melodic material in the right hand:

     2. The broken chord quaver figurations in the left hand:

    3. The bottom of the chord (the bass line) which is usually the first quaver of every minim group which generally occur twice in every bar:

It’s always worthwhile practising the left hand alone for an extended period, until notes are fully grasped (it can help to know the patterns from memory too), because absolute consistency and evenness is necessary with regard to rhythm and tone.  Rubato (or taking time) is a feature of Chopin’s music, but even the composer himself apparently insisted on a rhythmical bass, proclaiming ‘The left hand is the conductor of the orchestra’, above which the melody can enjoy some rhythmical freedom.

Students might benefit from using a variety of touches when practising; start by playing the bass line fortissimo, playing deep into the key bed, because then it is easier to pull back and achieve a smooth, soft, even sound. The bass notes at the beginning of each broken chord are the most important as already mentioned, and need slightly more sound and a tenuto (or held) approach (this note can be held for a fraction longer than the other quavers), because it’s providing the bottom of the texture harmonically (the constant bass C sharps in the following extract. The example shows all three strands or layers of music from the examples above, combined (or as written));

It’s a good idea to be aware of the musical structure (which is ternary form) and the harmonic structure too, as this aids quick study, particularly if the piece is to be performed from memory.

Each quaver in the bass leads musically to the next, yet at the same time must provide the ‘middle’ and ‘lower’ layer of sound, and therefore should generally be in the background with regards to volume. Try to avoid the temptation to ‘poke’ or ‘jab’ at notes.  To play these bass quavers evenly, it might be beneficial to play them in ‘blocks’ at first; blocking out chords involves playing the notes in each group (here, on every crotchet beat) all together, so the correct fingerings, hand positions and movement needed between notes is swiftly learned. When this has been done and thoroughly assimilated, ask pupils to play as written, encouraging the hand and wrist (especially) to roll from left to right, guiding the fingers into their positions, allowing fingers to ‘hover’ over the notes in preparation.

The large gaps between the notes in the left hand (i.e. between the C sharp, G sharp and the E, during the first two crotchet beats of bar 1, in the musical example above), is more comfortable with a wrist rotation (or lateral wrist movement), the hand moving quickly back to the C sharp on beat 3 (from the previous middle C (sharp) on the second quaver of beat 2 (bar 1)). To do this rhythmically and evenly, encourage students to stay on each note for as long as possible, quickly swivelling the fingers and hand into place in preparation for the next one; this way legato will hopefully prevail and there will be few gaps in the sound.

For note security and gradation of tone, the left hand can be practised without any pedal at first and certainly without rubato. As the bass part becomes more secure, so pedal can be gradually added. It’s crucial to constantly listen when pedalling; the pedal is often best controlled by the ear as opposed to written suggestions on the page. This might sound obvious but it’s easy to pedal mindlessly, not listening to everything clearly.  During the ‘busier’ passages, pupils might experiment with ‘flutter’ pedalling; where the sustaining pedal is constantly moving up and down (or hovering) in order to ‘clear’ the sound and avoid blurring too many harmonic progressions.

The melody, as with many of Chopin’s works, requires a real cantabile (or singing style) touch. It must soar above the bass and consist of a wonderful operatic quality synonymous with Chopin’s style (Chopin was reportedly a fan of the Italian composer Bellini’s operas). A free wrist with plenty of arm weight can provide a suitably rich, warm sound; even the pianissimos need some arm weight and the overall timbre should ideally project fully. The success of this line relies on  an understanding of the nuances of each phrase. Rather like sentences, a melody must have punctuation. Aim to study each phrase ‘feeling’ the direction of the music, seeking where the most important note or notes lie and adjusting the sound and shape of the phrase accordingly. Ask pupils to listen to where and how the melody rises and falls, therefore enabling dramatic sections to stand out musically. Space is vital in this work, so students must allow ‘breathing’ time between phrases.

The tricky ornamental or fioritura (or embellished) passagework and scalic runs can be negotiated by working again with a full sound (for practice purposes only), encouraging all fingers to play fully on their tips (particularly the fourth and fifths), and deeply into the keys, as opposed to sliding over the top (make sure the fingerings have been written in the score before practice begins). Then experiment with different types of articulation (staccato, non-legato, varying accents and dynamics); complete clarity is desired in every figuration, with all notes ‘sounding ‘equally, as opposed to being rushed or concertinaed together.

A particularly helpful method of practising trills, like that found in the musical example (in the right hand at bar 2), is to take the ornament out of context, working at it alone. Begin by securing the fingering (and sticking to it!), then ask students to play each note in the trill slowly and heavily, using the full force of each finger (always ensure a relaxed free wrist and arm, preferably after every note, so tension doesn’t arise). When the shape or pattern of notes has been understood, practice using accents on the weaker fingers, then on the stronger fingers.

Each note in the trill can be played twice or as a double note; every finger needs to enunciate the notes cleanly and with force here (but without any tension). Pupils can then play triple notes or triplets (three notes per trill note). When employing this approach, the wrist must be relaxed between every note, so the hand appears to be ‘bouncing’, as opposed to stuck in one position, which could indicate tension. By playing more notes than necessary, when the trill is played as written it feels much easier and more comfortable.

Elongating trills can also be useful, and by making them more challenging than originally written, when pupils return to playing Chopin’s score, inserting the ornaments into their rightful place, they seem much smoother and more controlled.

After practising the suggested methods using a distinctly heavy touch, a lighter finger touch should reveal even, accurate trills and florid passages, with fingers skating over the keys lightly. As with the left hand, work on the right hand separately until secure and confident. It might be a good plan to practice with the metronome until total rhythmic grasp is honed, and only then start thinking about rubato. Working under tempo is also advisable until any hesitations and insecurities have been ironed out, and coordination between the hands is exact.

Scale passages in the right hand from bar 55 onwards, can be contoured to ‘fit’ with the bass line; encourage students to mark the score at the most convenient ‘meeting’ places between the right and left hand passagework, and then stick to this every time during practice sessions; within a short space of time, these ‘meeting’ places will feel increasingly natural, and will eventually allow for more rhythmic flexibility. The left hand quavers will also need to be elastic rhythmically in order to accommodate the group of thirty-five right hand semiquavers at bar 56.

At bar 19, new material heralds the start of a less sombre section, characterised by a dotted rhythm and insistent triplet figure (which appears in the left hand from bar 31 to bar 42 (the main theme returns at bar 44). Chopin has marked all details very thoroughly, from dynamics (‘ff’ to ‘pp’) to the precise musical markings, which must all be noted.

If students can colour each layer of sound accordingly, and combine this with a thorough technical grounding, they will be on their way to creating a persuasive reading of this enchanting piece. And they will hopefully be able to tackle any subsequent Nocturne or similar work effectively, whether it be for a graded exam, diploma, or concert performance.

Suggested further reading:

Chopin, Pianist and Teacher; As seen by his pupils: Jean-Jacques Eigeldinger (published by Cambridge University Press)

After the Golden Age: Romantic Pianism and Modern Performance by Kenneth Hamilton (published by Oxford University Press)

Teaching Notes on Piano Exam Pieces Grades 1 – 8, 2017 – 2018 (published by ABRSM)

ABRSM Piano Notes 2017/18 (published by Rhinegold)

You can read the original article here: Practising Nocturne No 20 in C sharp minor by Fryderyk Chopin


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Sight-reading success with Paul Harris & Faber Music

During November, Faber Music are hosting a fabulous Piano Month, and are celebrating with a new piano resource magazine; The Faber Music Piano Catalogue.  Featuring all Faber’s piano publications, you can browse the magazine online for free by clicking here. As well as copious information about each publication, the new magazine also includes articles from some of their well-known piano writers and composers such as Pamela Wedgwood, Anthony Williams, Karen Marshall and Paul Harris.

My guest post today has been written by Paul Harris. Paul is a best-selling, renowned writer, composer, arranger, and author who has penned over 600 publications. His series, Improve your Sight-reading! is a stable resource in many a music teacher’s library (including mine!). A passionate advocate of sight-reading, the following article, which features in the Faber Piano Catalogue,  encapsulates Paul’s formula for sight-reading success.


Do I have to Sight-read?

This is a question many teachers may hear from their students. And for those who can play well from memory or by ear, why would they need to? The greatest gift we can give our pupils is musical independence, no longer needing a teacher to show them how it goes. If they can read, the whole wonderful world of music is open for them to explore and enjoy without restriction. Pianists can learn music to their hearts’ content, play duets, accompany friends and take part in all manner of ensemble playing with the confidence that their reading skills will allow them complete and unhindered understanding. And they’ll get high marks in exams!

The Improve your sight-reading! Teacher’s book for piano completes the process of learning to sight-read. If some lessons, or parts of lessons are given to teaching sight-reading skills (set out comprehensively in the Teacher’s book) and the pupil then goes home to practise (using the Improve your sight-reading! workbooks), the teacher will now find plentiful material to use to complete and polish the process.

Sight-reading can be taught. And all pupils can learn to sight-read accurately, fluently and confidently if they are taught in a systematic manner. The Improve your sight-reading! series, now complete with the addition of this teacher’s book will, through its methodical approach, allow all to achieve this essential core skill. Because each step forward is sequential and logical, progress will be continually evident and the whole experience will be fulfilling and fun!

Faber are offering a 10% discount on many selected publications in November and December this year, and you can find out more here.

www.fabermusic.com


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Play it again: PIANO Book 2

Those of you who read this blog regularly will know that I have recently written a new two-book piano course, Play it again: PIANO (Schott). Book 1, released in April 2017, was featured on my blog a few months ago (you can read about it here), but I haven’t really focused on Book 2 as yet (it was published at the end of July). Following on from Book 1, Book 2 is also a progressive, graded course, takeing students from intermediate level up to advanced (approximately Grade 4/5 up to Grade 8 +).

Who is this course for?

Play it again: PIANO is designed for those ‘returning’ to the piano after a break (whether a teenager or adult), it would also be useful for students who want a course running in tandem with the British examination boards (great for repertoire between exams, plus helpful information on piano technique, scales, arpeggios and sight-reading). Teachers who fancy an anthology of pieces to work through with their pupils, may like to explore these books too.

What you can expect to find in the books

The course consists of 49 piano pieces (28 in Book 1, and 21 in Book 2), the majority of which are drawn from standard repertoire (with emphasis on pedagogical works), starting at elementary level (Grade 1) through to advanced (Grade 8). Each book has an extensive ‘technique’ section at the beginning, with plenty of technical reminders and practice recommendations, and a ‘theory’ section at the end. Each piece contains at least two pages of practice ideas and tips, as well as many musical examples, diagrams and photographs. As this is a progressive course, it’s possible to ‘return’ to a level to suit your current standard; some may want to start at the beginning (which is what I suggest, as this can be valuable, even if your playing is at a much higher level), whilst others may prefer to ‘drop in’ at Book 2 or a later stage.

Each book is divided into four parts, and Book 2 looks like this: Late Intermediate, Early Advanced, Advanced, and Late Advanced. Although this course is not exam based, it’s helpful to know the approximate grades for each level; Late Intermediate is roughly Grades 5 – 6 level (ABRSM exam standard), Early Advanced, Grades 6 – 7, Advanced, Grade 7 – 8 and Advanced, Grade 8 and above.

Every level contains a group of pieces; 6 in the Late Intermediate and Early Advanced levels, 5 in the Advanced section, and 4 pieces in the Late Advanced. My brief was to include a wide variety of styles and genres, so there’s plenty for those who enjoy lighter Contemporary styles (rock, ragtime and blues).  There are also plenty of well-known original classical pieces and some lesser known gems too.

Book 2 Repertoire

C.P.E. Bach: Solfegietto C minor H 220
L.v. Beethoven: Für Elise WoO 69
F. Mendelssohn-Bartholdy: Song Without Words, op. 30/3
H. Berens: Study F Major, op. 88/18
E. Cobb: Lavender Haze
M. Spanswick: Seahorse Dream
G.F. Händel: Allegro from Suite G Major HWV 441
W.A. Mozart: Allegro from Sonata C Major KV 545
L.v. Beethoven: Adagio Sostenuto from “Moonlight” Sonata, op. 27/2
J.B. Cramer: Study C Major, op. 50/1
J. Brahms: Waltz A-flat Major, op. 39/15
S. Hormuth: Sweat Feet Stomp
F. Schubert: Impromptu A-flat Major D 935/2
S. Heller: Warrior’s Song, op. 45/15
C. Debussy: The Girl with the Flaxen Hair L 117/8
Trad/B.Carson Turner: Londonderry Air
J. Turina: Fiesta, op. 52/7
J.S. Bach: Prelude and Fugue C minor BWV 847
F. Chopin: Raindrop Prelude, op. 28/15
S. Joplin: The Entertainer
S. Rachmaninoff: Prelude in C-sharp minor, op. 3/2

Layout

I’ve included the scale and arpeggio of each key (where appropriate), and warm-up exercises, tailored to certain pieces. There are a myriad of practice ideas, and different methods of breaking pieces down, re-assembling them with ease and with greater understanding. Each piece contains fingering, dynamic suggestions and (where necessary) some pedalling. Although you may choose to ignore this and add your own. All the information provided for every piece is transferable to an infinite number of piano works, therefore building solid practical methods for tackling different styles and genres.

The pages are well laid out and are designed with ‘Tips’ and ‘technique’ box-outs, and I hope it’s an easy to use course, inspiring pianists to rekindle their love for the piano.

‘Melanie Spanswick’s Play it again: Piano in my view exactly hits the spot for these players, and deserves to be a huge success both for her and Schott Music.

It is abundantly clear that a huge amount of thought, work and expertise has gone into each and every element of these superb books, and it’s all paid off handsomely: Play it again: Piano is simply one of the most brilliantly conceived and stunningly produced sheet music publications of recent years.

I write lots of reviews for the benefit of readers, but this inspiring series has passed the ultimate test: I will certainly be recommending and using these books with lots of my own students in the coming months and years, and I’m really looking forward to it!

Genuinely Brilliant!’

Andrew Eales, Pianodao.com Blog

You can purchase the books on Amazon in the UK, Book 1 and Book 2, from the Schott website, or from many other internet outlets. If you are in the US, you can purchase here: Book 1 and Book 2. Canada: Book 1 and Book 2. Japan: Book 1 and Book 2, as well as many other online sites worldwide.


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

 

 

 

Weekend Competition: the winners…

Many thanks to all who took part in my weekend competition. The prizes are two copies of Olly Wedgwood’s JukeBox: Fun Piano Solos and Duets.

The winners are:

PAMELA DENISON and LUCY SLANE

Congratulations! Please send your addresses via the contact page here on my blog. You can find out much more about this publication here.


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Weekend Competition: JukeBox – Fun Piano Solos and Duets

This weekend my competition features a new publication by British composer Olly Wedgwood. JukeBox: Fun Piano Solos and Duets (Volume 1) is a colourful new volume containing 10 original piano pieces, all published by Olly’s own publishng company, OllysPianoSheets. Intended for students between Grade 1 – 2 Level (ABRSM), the 10 pieces can be accompanied by performance and backing tracks, which are downloaded as mp3s from Olly’s website.

The pieces all contain Olly’s musical hallmarks, and comprise popular styles from jazz and blues, to swing and soul. Olly suggests the pieces are for those who have been learning the piano for around a year, and he provides a helpful sentence or two at the top of each one with practice suggestions. The final two works are duets, and my favourites are Silver Lining and Pentatonic Prairie.

I have two copies to give away to two winners, so as usual, please leave your comments in the comment box at the end of this post and I will select the winner on Sunday evening (British time). Good luck!


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Workshop for the Performing Arts Festival in Singapore

After a thoroughly enjoyable Southeast Asia tour over the Summer, I will be returning to Singapore and Malaysia at the beginning of November. This time, I’ll be predominantly based in Kuala Lumpur (where I’m looking forward to presenting at the UCSI University Piano Pedagogy Conference, and giving presentations for Schott Music), but will also be briefly visiting Singapore too, for lessons and a workshop (see flyer below).

This workshop is intended for students, parents and teachers, or anyone preparing for a piano exam of any level or any examination board. We will discuss practice methods and preparation, and a number of students will have the opportunity to play their programme (or part of their programme) to a friendly audience, after which they will receive helpful, constructive feedback as we work on various technical and musical ideas to improve performances. There will also be a chance to present technical work such as scales and arpeggios.

I know many from Asia read my blog, and it would be wonderful to see you in Singapore on November 4th. Please follow this link to secure your place. I look forward to meeting you.


My publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


 

Introducing Duo Feola

For those keen on the piano duo repertoire (both duet and two-piano) – and it’s hard not to be! – these forthcoming concerts are sure to be a pre-Christmas highlight. Contemporary works and lesser known gems sit alongside traditional favourites, and all three concerts feature Italian pianists, Duo Feola. The programmes include works by C. Debussy, R. Hahn, P. A. Grainger, A. Casella, I. Stravinsky, L. Durey and C. Norton.

The concert at Stowe School on December 13th 2017 (in Buckinghamshire) will be a two-piano concert, whereas those at the Christian Science Church on December 14th (in York, North of the UK), and at Peregrine’s Pianos on December 15th (in London), will focus on piano duet repertoire.

Duo Feola are a piano duo from Bergamo.  Sisters Nicoletta and Angela Feola, have been performing together since they were small, and studied at Conservatorio “Giuseppe Verdi” in Milan, continuing their studies at Salzburg’s Mozarteum with Alfons Kontarsky and at Trinity College, London, completing a Masters in Advanced Recital Piano Duet.

They have played for concerts and festivals all over Europe, and have recently recorded a CD featuring the music of Hindemith for the label Art Voice. They have also been featured on radio and television broadcasts in Italy, Germany and Poland.

Duo Feola’s  repertoire is large, ranging from Bach to contemporary music. A number of composers – Matteo Segafreddo, Irlando Danieli, Angelo Paccagnini and Goffredo Haus have written music dedicated to them. Most recently, Christopher Norton, the renowned composer of Microjazz, has written an Italian Suite for 2 Pianos for Duo Feola and it will receive its UK premiere, along with a new Anatolian-Portuguese Suite for 2 Pianos, also written by Norton (both published by 80dayspublishing, Christopher’s own publishing company). The composer will also play (at all three concerts) some of his more popular works, particularly those on examination board syllabuses.

You can reserve your tickets on eventbrite: December 13th at Stowe SchoolDecember 14th at the Christian Science Society, or December 15th at Peregrine’s Pianos, or alternatively buy them at the door.

Hope to see you there!