A Masterclass with Murray Perahia

If you read this blog regularly, you’ll know I often highlight masterclasses. Here’s a particularly interesting set given by celebrated American pianist Murray Perahia, recorded at the Paul Hall on October 12th 2017, at the Juilliard School in New York.

The participants and repertoire are as follows: Qi Xu performs the first movement of Beethoven’s ‘Hammerklavier’ Sonata No. 29 in B-flat Major, Op. 106, Shengliang Zhang performs the first movement of Schumann’s Fantasie in C Major, Op. 17, and Yuchong Wu performs the Alemande, Courante, and Sarabande from J S Bach’s French Suite No. 5 in G Major, BWV 816.

There’s so much to learn and enjoy from observing such classes. I hope you find them of interest.




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.


 

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Playing to Your Strengths

I haven’t written many guest posts over the past six years (the length of time that I have been running this blog). There’s no particular reason for this, but when the superb writer, author, journalist, and presenter, Jessica Duchen, kindly invited me to pen a post for her excellent blog, it was an offer I couldn’t refuse. Published today, Playing to Your Strengths is a subject I am quite passionate about and believe it’s a most important element for any instrumentalist to consider. You can read it by clicking, here. Hope you enjoy it, and I wish you all a very happy, relaxed Bank Holiday Weekend.


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.


 

Teaching the tricky intermediate stages, by Karen Marshall

My guest post this week has been written by piano teacher and author Karen Marshall. Karen feels passionately about keeping students engaged in their piano studies, with emphasis on enjoyment, so they want to continue their piano playing. I asked her what elements she considered most important when teaching at the intermediate level (approximately Grade 3 – 5). Over to Karen…


The intermediate stage of learning the piano – and indeed any instrument – is a notoriously tricky period. Many teachers may find students dropping off, losing interest and quitting lessons. I’ve been teaching now for over 25 years and it could not fail to come to my attention that these stages of learning were some of the most difficult to progress through.

There are multiple reasons for this, but I believe it is often at least partly due to increased school work (leaving less time to practise), at the same time as music becoming considerably more complex.  Students who have a good ear and have previously been able to memorise music will start to struggle to do this with the longer repertoire.  Added to that, frustrations mount as music becomes more technically and musically demanding, resulting in slower progress.

My solution to these problems was to come up with an intermediate curriculum for my students that would help to develop their musical understanding and provide a holistic learning experience. But I also realised that my students required variety, the opportunity to be creative, and a continual sense of achievement. If these elements are combined with key theory, technical development, and carefully chosen repertoire, I found that note-reading will be improved, technique and musicality developed and students will gain a greater understanding of what they are learning.

The Intermediate Pianist is an amalgamation of my life’s work, tailoring this holistic approach for use with Grade 3 to 5 level students. It is a series of three books that has emerged from years of working with these students, aided by many attractive compositions by Heather Hammond.  It is, in essence, a music curriculum that piano teachers can use to fit their teaching style, either by working through each chapter in lessons, or by getting students to use it at home.

Co-author Heather Hammond and I have paced the books to take into account varying time students have to practise. We made sure that the music deliberately spanned a range of difficulty levels and styles, so some pieces can be learnt in just one or two weeks, whilst others are more challenging. This approach has been highly successful in ensuring my students didn’t give up the piano, and very luckily I was able to get this curriculum published. Here’s a quick look at the different elements:

To provide variety and understanding

25 Styles of music explained with definitions and activities over three books.  Including March and Lullabies, Swing and Boogies; Polka and Baroque Dance Suits, Four chord Pop and Reggae; Latin and Theme and Variations, Impressionism and Minimalism.

To provide opportunities for creativity and understanding

Musicianship activities included throughout from playing by ear to transposition, listening activities to recognising cadences.  Theory is included in a creative and attractive way with word searches and quiz activities.

To provide pace and ‘quick wins’

Quick learn material for sight reading – lots of easier material is included so students will have enough time to complete the whole book and experience lots of styles, keys and improve their sight reading.  Pieces move forward and backwards in levels for consolidation.

To provide understanding

Technique – All keys’ scales and arpeggios are covered up to five flats and five sharps along with carefully selected technical exercises or repertoire to develop key technique.

To keep students inspire using the repertoire of great composers

Repertoire – Core repertoire has been selected from Bach’s Anna Magdalena Note book and his Two Part Inventions, Schumann’s Album for the Young, Tchaikovsky’s Children Album, Clementi Sonatinas Opus 36, Burgmuller’s Opus 100, Chopin’s Preludes and Bartok’s For Children.  This is combined with new composition and arrangements or famous classical music from Beethoven’s 7th Symphony to the Flower Duet by Delibes, Howard Goodhall’s QI theme and Por Una Cabeza Tango.

You can purchase The Intermediate Pianist from all good retailers, or from Faber’s website, 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.


 

A Royal Double Bill

I live in Windsor, which is situated in Berkshire, around 20 miles to the west of London. I settled here four years ago and it’s a delightful place. However, this week my small town has become the centre of the universe (or so it seems), and it’s been almost impossible to walk out of the front door without bumping into a camera crew. The impending Royal Wedding is certainly a much-anticipated event, and I wish the royal couple every success for their future married life. But if your interest in this regal occasion has already waned somewhat, you might like to take a look at this concert, to be held on the same day at 7.00pm in London.

The Around the Globe Piano Festival, organised by Marina Petrov and Maya Jordan, is a wonderful music festival and concert series which fervently supports Contemporary composers.

The Festival is held in the Autumn every year and is open to all levels and abilities. I adjudicated at the 2017 festival and thoroughly appreciated the wide variety of repertoire on offer. The standard of performance was also extremely high, and winners are invited to perform at various concerts arranged throughout the year.  I’m honoured to be amongst the group of Contemporary composers whose music features on the syllabus.

The piano recital on Saturday showcases winners from last year’s festival, including children, adult amateurs and professional pianists. A diversity of styles pervades, from classics to modern, including compositions written by a host of innovative composers including Lola Perrin, Lindsey Berwin, Vera Milanković and myself. Guest pianist Olga Dudnik will perform the captivating “Jewish Suite” written by prominent Serbian composer, Aleksandar Vujić. You can book your tickets via the Around the Globe Piano Festival’s  website, or alternatively you can purchase them at the door. Hope to see you there!


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.


 

My Journey as a Composer by Lindsey Berwin

British teacher and composer Lindsey Berwin is my guest writer today. She has written several pedagogical publications for teachers and students. I asked Lindsey about her work as a composer, and why composing has become an increasingly important element in her life. Over to Lindsey…


My journey as a composer began some thirty years ago, primarily in response to my pupils’ pedagogical needs and their requests for specific repertoire. Little could I have known then that I was embarking on a voyage which would blossom into a passion, providing me with a wonderful means of self-expression as a musician, and of self-discovery as a person.

I was privileged to have spent four invaluable years studying at The Royal Academy of Music, but I never received any instruction in composition. Thus, I was left to rely on my experience, knowledge and instincts as a pianist and teacher, to guide me through this unfamiliar territory! My first works included a sight-reading series, subsequently entitled ‘FunKey!’, a number of bespoke duets, a set of jazz-style technical exercises and a piano course for pre-school children.

A significant turning point for me was the discovery of The EPTA annual composers’ competition. This opportunity provided the catalyst for me to broaden my compositional horizons. In addition, it spurred me on to incorporate this creative element of music into my teaching, resulting in many years of enjoyment and satisfaction for both myself and my pupils.

In terms of my own development as a composer, having begun to explore a freer range of writing, the creative process gradually gathered momentum. I revelled in the technical challenges of wrestling with toccatas, fugues and studies, and in the chance to explore both the field of tonalities and the world of the subconscious. The latter resulted in works of a somewhat philosophical nature, such as Chromatic Fantasy, Enigma and Tunnel Vision, and, influenced by the jazz idiom, Introspection.

Opening out the parameters of composition meant the need to adopt diverse approaches. The above mentioned FunKey!, and its flute counterpart Jazz Keys, both later published by Kevin Mayhew, were written very much as teaching aids, intended to improve students’ reading and transposition skills. I created most of the material away from the instrument, relying on my inner hearing, and the process felt predominantly cerebral in its nature.

In order to compose more complex repertoire, working at the piano was, and remains, a necessity. Pieces with a specific structure, and those with a technical purpose again have their roots in a cerebral process. Fugal writing, in particular, has a methodical, almost mechanical aspect to its construction, and I find composing music of this type immensely rewarding intellectually. By contrast, compositions of the more philosophical nature emanate from my emotions (although edited by my intellect!), often providing a cathartic experience and an outlet for life’s complexities.

‘All The Fun Of The Fair’, published recently by EVC music, was my first substantial collection of pieces, and my inaugural venture into the realms of programme music. The suite consists of ten pieces representing different fairground rides, and I wanted to produce a sound-world which suitably described each. For this task I turned to my imagination for inspiration. Coming full circle, and returning to my metaphor of a journey, I hope that the following whistle-stop tour of the fairground will show how I set about achieving my aim, and provide an entertaining conclusion to this blog

The Ghost Train

An eerie, rubato introduction sets the scene. A left-hand ostinato based on augmented 4ths represents the movement of the train, while the right-hand mimics the sound of its whistle. Tension builds, until fortissimo chords herald the appearance of a frightening apparition. The train restarts twice more, the last time accelerating, until octaves, played presto, lead into a final terrifying encounter!

The Lotus Flower Ferris Wheel

The movement of a slowly turning Ferris Wheel is captured by fluid writing and gently rising and falling phrases. To add to the feeling of tranquillity, parallel 4ths are employed, transporting the performer and listener to the beauty of the Orient.

The Roller Coaster

An atmosphere of excitement tinged with fear is set from the start! The whole-tone scale rises, as the passengers are slowly carried to the summit. The cars descend dramatically, represented by vivace chromatic semiquavers, becoming dissonant along the way to reflect the cries of the riders. Twice more this scene is repeated, and the final descent builds in contrary motion to a fortissimo climax.

The UFO

Slow, dissonant chords create a feeling of outer-space, leading into an appassionato section which gradually rises to a soaring fortissimo. The music then slowly dies away, with descending sequential imitation. A return to the opening style follows, but this time, almost like gravity, the harmony pulls us away from uncertainty (dissonance) to end with a feeling of peace (consonance).

The Mechanical Bull

A Latin style, characteristic rhythms and ornamentation carry us to the world of the Spanish matador. The 5/4 time signature at the start, and the later insistent ostinato add humour, as the rider attempts to stay mounted. As the ending approaches, a repeated pattern rises from the depths of the piano. It culminates in a fortissimo descending glissando, as the jockey finally admits defeat!

The Coconut Shy

Each hand represents a person competing to win the prize in this final piece. Acciaccaturas, imitation and changing time signatures, combined with considerable dissonance including bitonality, bring All The Fun Of The Fair to a suitably quirky and light-hearted ending!

You can purchase Funkey! and Jazz Keys, here and All the Fun of the Fair, 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.


 

Lang Lang Music Theory Cards Twitter Competition

The new Lang Lang Music Theory Cards, published just last month by Faber Music, are colourful, informative and innovative. Fifty-two colour coded cards are designed to extend knowledge and make theory an enjoyable experience for students, teachers and parents. Each pack features imaginative questions to improve note-reading and music theory skills. The cards are the latest addition to the Lang Lang Piano Academy; they can be used in conjunction with the Lang Lang Piano Method and are suitable for complete beginners.

With questions such as ‘True or false’, ‘What’s the difference?’ and ‘Explain this!’ alongside favourite characters displayed in the piano method books, these fun-filled packs add a different dimension to learning theory, offering an engaging, appealing adventure. Chinese concert pianist Lang Lang is renowned for his work in music education and has inspired millions of children to study the piano.

Learning an instrument can be a really important part of a child’s development and a great way to improve many things like concentration and focus. Learning needs to be enjoyable as well and I’m sure kids will make good progress and be inspired to keep going with this series.”
Lang Lang

You can purchase the cards here, and sign up to Faber Music’s mailing list here, to hear more about The Lang Lang Piano Academy, plus music education and piano news & ideas from Faber Music.


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.



 

Are you all Fingers and Thumbs?

My most recent article for Pianist Magazine’s e-newsletter (you can read it here) focuses on the thumb. As always, my intention is to draw attention to an area of piano playing which may benefit from concentrated practice. I notice in my own teaching that students perpetually work to achieve and maintain finger strength, but then leave the poor old thumb to its own devices. Here are five practice suggestions.


Thumbs. They might just be appendages stuck on the side of our hands, but for any pianist, they are important additions to our armoury of articulation. If used optimally, the thumb can enable easy turning (both under and over the hand) for smooth passagework, and can take the lead during chords and octave passagework, creating assured playing. Here are a few practice ideas to strengthen our thumbs.

  1. Start with a thumb exercise away from the keyboard; I like to use a circular motion exercise. Observe the three thumb joints; the first at the bottom of the thumb, next to the wrist, the second, at the thumb base, and the third, in the middle of the thumb. By moving the whole thumb in an upward (almost above the hand) then downward motion, so that the movement finishes with the thumb under the hand, whilst keeping the arm relaxed but still, you can start to loosen the fleshy areas, so that they feel pliable and soft. Aim to keep the movement flexible and free of any tension.
  2. Observe your thumb position on the keys. The thumb is naturally lower than the other fingers, and it should ideally make contact with the keys on the tip of the thumb nail; at the left tip for the right hand, and right tip, for the left hand. The nail just touching the keys. Try to avoid the whole side of the thumb flopping down on the keys, as this position makes thumb control challenging.
  3. To practice thumb positions and get the thumb moving, play a one octave C major scale ascending with the following fingering: 12121212 (right hand), 21212121 (left hand), you can then switch fingers starting with 21 in the right hand, and 12 in the left. Practising with 13131313 (right hand) can be helpful too. Ensure a flexible thumb movement every time the thumb moves over or under the hand.
  4. Now try a one octave chromatic scale using the same fingering; when you move to the black notes, try to ‘place’ the thumb tip with care as these notes are narrower therefore demanding greater accuracy. Thumbs will also need to employ a larger movement in order to negotiate these notes.
  5. Finally, practise intervals i.e. a C and E in the right hand using the third finger on the C and thumb on the E, and in the left hand, the thumb playing the C and third finger, the E. This seemingly unnatural position (practising the turning motion) will require a tension free hand so ensure the ‘fleshy’ part of your hand is relaxed as opposed to taut and ‘locked up’. When playing these intervals, sound them together as chords, and keep both notes in place whilst relaxing your hand; this is a useful preparation exercise for arpeggios. When comfortable, move on to larger intervals such as a C (played with a third finger) and an F (thumb) in the right hand.

You can sign up for Pianist’s e-newsletter, 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.


 

Composing Piano Music: a guest post by John McLachlan

This week my guest writer is Irish composer and music examiner, John McLachlan. A prolific composer, John has written for many genres, including a substantial collection of pedagogical piano works, some of which have been selected for inclusion in the syllabus of the Royal Irish Academy of Music. I asked him about his music and his compositional process. Over to John…


I began writing pedagogical piano pieces some decades back when I was very busy teaching piano and trying to finish a PhD in musicology, as well as juggling piano practice. This didn’t leave much time to write big serious pieces, and so when students were absent I would quickly scribble a simple piece, with the original idea of bringing the harmonic practice into the modern era. The PhD was on Boulez, Xenakis et al, and my serious music is fairly complex. I was concerned about what young musicians learn and  whether it sufficiently stretches their understanding of more modern adventures in harmonic and rhythmic practice.

I showed a few scratchily handwritten scores to Deirdre Doyle, who was then head of keyboard at the Royal Irish Academy of Music in Dublin, where I was studying, and she said: “Let’s see more of those”.

Things evolved from there.  I got positive feedback from other wonderful piano teachers at the RIAM such as Ray Keary, and I changed the focus from being a fiercely revamped post-war version of Bartok to being within the parameters of specific piano grades: I learned to dial down (but not discard entirely) the challenging harmony, rhythm and structure of the pieces.

I was also very much aware as a teacher how the material for beginners varies from nice and clever pieces to dry-as-dust exercises thinly disguised as ‘fun pieces’. But when you try to write music for absolute beginners you soon see how hard it is: it is a great exercise and a big challenge for any composer to stick within a few bars and a couple of five-finger positions, yet come up with something that sounds in any way inspiring! However, models such as Kabalevsky, Grieg and Schumann often show how good pieces can be constructed from a starting point of technical ease, focused in one useful technical area, and with a bit of imagination can really be appealing to play while staying within the technical level set out at the start.

I was also struck by how few early pieces would appeal to late or adult beginners, and how very anodyne they can be, compared, for example, to stories and poetry written for children, which can be ghoulish or bloodthirsty! This is why sometimes my pieces have titles such as ‘the Guillotine’, ‘Caves’ and ‘Night Prowler’. I have a piece called ‘Chop Chop’ which has been selected for Preliminary grade a number of times, the piece was going to be one of those with words written under the tune: “Willy built a guillotine, Tried it out on sister Jean, Said Mother as she got the mop”, “These messy games have got to stop!”. But I shrank back from including the words on the score in the end, as I had not asked for the author’s permission, and I figured there was no way the RIAM would use it in that format anyway. But I don’t want to give the idea that my music is all on the dark side! I also found inspiration from sun-soaked travels in Greece with ‘Evening at the Harbour’ and ‘The Meltemi’ (this is a wind that cools the fierce summer heat on Crete). ‘Wheelies’ is about childhood joy in messing about on a bicycle.

Initially, I gathered all the pieces together into a volume that I titled “From the Strings of a Rainbow” (inspired by a poem from St-John Perse), offering a collection of pieces from elementary level to advanced. Then some time later I pared back the difficulty with a volume I called “Fifteen Easy Miniatures”. Just this year I reassembled the various pieces, including many written after those volumes, into three new volumes: ‘First Flights’: ’14 playful pieces for piano beginners; ‘Further Flights; 15 easy repertoire pieces from grades 1 to 5′, and ‘Lighter and Darker: 5 repertoire pieces above grade 5’. There are a number of pieces from the early volumes that I have discarded. The pieces are all available individually and/or gathered together in these volumes.

How do I go about writing such pieces? There are almost as many answers as there are individual pieces, but I will try to answer this. In the case of two of the African Melodies I was inspired by the technical control of the travelling five-finger hand positions seen in many of Kabalevsky’s “24 Pieces for Children”, and also by the general mood of some music by Kevin Volans, the South African/Irish composer who was teaching me at the time. The pieces use only pentatonic scales, a further limitation. “Hop, Skip and Tumble” also relates in that way to Kabalevsky’s models.

Other simpler pieces in one position sometimes use artificial or non-western scales such as the Hungarian minor or the hirajoshi pentatonic to give the ears something fresh (examples: “A Little Japanese Tune” and “The Guillotine”). Archaeopteryx on the other hand is a very advanced essay on what can arise from the octatonic scale, which starts with superimposed hand positions, the kind of positioning seen in Debussy’s Mouvement (and countless other pieces). It is in strict Sonata form and the development sees some breakdown of the octatonic structure.

I hope that all doesn’t make it sound boring or technocratic, the truth is, I always compose in the classic “flow state”. Structures such as scale or formal plans merely help the enjoyable aesthetic craziness to fit more easily together and that speeds up the writing process immensely. I often tried to achieve some unusual forms or phrase structures, but to slip them in a way that is not obvious to the ear. But there are also pieces that are more straightforward, with blues or jazz influences. “Ice-Dance” is just a jazz improvisation on quartal chords (chords built up from fourths rather than the usual thirds).

In “An Raibh Tú ag an gCarraig?” the top line is a very old Irish tune which I noticed was in a hexatonic scale (as in the first 6 notes of major), where the other 6 notes of the 12 make a mirror set of the same scale a tritone away. I immediately decided to use those notes in the left hand to compose a free left hand accompaniment or counter-melody. I soften the dissonance by choosing only consonant combinations between the hands. I was very happy with that, and in fact this way of ordering the 12 pitches crept into parts of a 12-minute piece I wrote for organ and later for orchestra called “Here be Dragons”. So it is evident that writing all the simple pieces did have an effect on my more serious art music output, where I devised for a while a cross between simplicity and complexity which proved very fruitful between 2001 and 2011 or thereabouts.

All composing can lead to other composing so the best advice for composers is to keep writing as often as possible, as only then can issues and solutions flow from one piece to the next in your output. Also listening to and playing great music is vital, and figuring out how it works (by thinking and analysing)—all this is how piece X leads to piece Y.

Pieces selected for inclusion in the Royal Irish Academy of Music’s examination syllabus: Little Reverie, Tranquillity, African Melody I, African Melody II, Night Prowler, The Curious Cat, Chop Chop!, Melody for K, Ice-Dance, and Hop, Skip and Tumble.

You can purchase John’s music by clicking here, and can hear selected piano pieces by clicking on the links below:

 


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 those who took part in my weekend competition. The prize is a copy of a new volume written by pianist, composer, examiner, and writer, Mark Tanner; Mindfulness in Music: Notes on Finding Life’s Rhythm, published by Leaping Hare Press.

I have two copies to giveaway, and the winners are…

SIMON BURGESS and MUSICATMONKTON

CONGRATULATIONS! Please send your address via the contact page on this blog and your book will be on its way.

You can purchase this book by clicking 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! Mindfulness in Music: Notes on Finding Life’s Rhythm

It’s time for a weekend competition. This one features Mark Tanner’s new book, Mindfulness in Music: Notes on Finding Life’s Rhythm (pictured to the left). If you’ve been reading this blog over the past week, you’ll have read Mark’s own post about this publication, which provides a useful background (to read it, click here).

Published by Leaping Hare Press, this volume will be of interest to anyone who feels the need to reflect on the inner rhythms of their life, and perhaps find a different approach to hearing and  digesting music. Chapters focus on the following subjects; Music as Meditation, The Rhythm of Life, Sound & Sensuality, The Language of Music, Parallel Universes, and the The Art of Possibility.

Beautifully presented, the book contains interesting quotes from various artists, writers, philosophers, and musicians, and  I particularly like the suggested mindfulness exercises which are peppered throughout. These offer food for thought, and allow our minds to put Mark’s many theories and ideas into practice. A thought-provoking read!

I have two copies to giveaway this weekend, so, as always, please leave your comment in the comment box at the end of this blog post, and I will announce the winners on Monday evening (British time). Good luck!

You can purchase Mindfulness in Music: Notes on Finding Life’s Rhythm, 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.