5 Tips for Secure Coordination and Quick Movement

This month’s 5 tips for Pianist magazine’s newsletter focuses on the issue of moving quickly around the instrument. I hope it’s useful.


Moving quickly and accurately can be tricky. Especially if fast passage work is involved. There are many ways to alleviate this conundrum, but one which can be really beneficial is octave displacement. Yes, you did read that correctly! No-one wants to feel ‘displaced’, but by moving in disparate patterns our brains are unexpectedly taxed, and when we return to playing what is written, the notes should feel more secure.

Start by locating a passage in a piece; one which you feel needs more work. It could involve any type of rapid passage work (in either one or both hands). Now practice the passage hands separately, and then hands together at a slow speed. Ensure you are happy with your chosen fingering.

  1. Let’s assume that your passage is situated within the middle two octaves of the keyboard (if it’s not, you can still apply the following practice technique but you may need to be a little more creative about how you apply it). After playing hands together slowly, repeat with the left-hand part down one octave, keeping the right-hand in the original position. Play through and listen astutely to each line; are you clearly articulating every note? Negotiate any leaps or position changes within the passage with care, watching and feeling every movement.
  2. Now take the left-hand down an octave further, so you are playing with the hands three octaves apart. The lower part of the keyboard often requires a deeper or heavier touch to successfully articulate notes, and fingers will usually accommodate this change.
  3. Once you have assimilated the heavier touch, keep the left-hand where it is and take the right-hand down one, then two, octaves, so that eventually both hands are playing in the lower range of the keyboard; the necessary deeper touch will hopefully encourage clear finger work.
  4. Next, return to play the passage as originally intended. Take the left hand down two octaves (if possible), and the right hand up two octaves. You should now be playing the passage at the extremities of the keyboard. Here, you can articulate note patterns with real clarity, as it’s possible to hear effectively when hands are far apart.
  5. One secure with the hands in this position, gradually increase the speed, and, finally, aim to constantly switch between positions; from one octave apart to two, and then up in the treble and then down in the bass. Aim to play these ever-changing patterns as one continuous phrase. This movement is surprisingly challenging, and necessitates a light arm motion, guided by a loose elbow. You have, in effect, constructed an elaborate ‘study’ or exercise around a demanding passage in your piece.

You might want to employ this practice tool for just four bars at a time or for an entire passage, but the more variety, the easier it will feel on returning to play the original written version. Continual octave displacement demands deft body movement as well as a nimble mind, and the greater the challenge during a practice session, the more comfortable you will feel when you play the piece through.

www.pianistmagazine.com


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious 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.


 

Finchcocks Piano Courses 2019

A weekend spent at the splendid Finchcocks manor house is rather like stepping back into the Eighteenth Century. Situated in Goudhurst, in the South East of England, and set in ample grounds, it’s positioned advantageously for panoramic views of the Kent countryside. This elegant Georgian mansion (see photo above), built in 1725, provides the perfect setting for luxury piano courses. Soft furnishings, tastefully muted colour schemes, original flagstone floors, marble and granite fireplaces, elaborate chandeliers, impossibly high ceilings, and wonderfully creaky staircases, allow a glimpse into what life might have been like nearly 300 years ago.

Accommodation on the third floor of the Finchcocks Mansion.

Last weekend marked my second visit to Finchcocks. On this occasion our accommodation was in the main house, whereas previously, we (myself and course participants) had stayed in the Coach House, a separate building to the right of the manor house. Meals are enjoyed altogether in a palatial dining room, with locally sourced food, all prepared and served by a chef. And for those who like a tipple, there is plenty of wine on offer too!

Courses begin on Friday evening at 7.00pm and end at 3.30 – 4.00pm on Sunday with afternoon tea. And they are fairly intensive affairs, so it really is possible to learn a substantial amount in a short space of time. I tutored an intermediate course; approximately Grade 5 – 7 level of the ABRSM examinations. We began on Friday with a duet session – the ideal ice-breaking introduction. I used my own duets and trios (Snapchats Duets & Trios), which are purposefully simple and tuneful, for a stress-free, friendly, and fun opener.

Duets & trios on two pianos in the crypt.

Saturday started at 9.00am with a two-hour technique session, focusing on straight-forward exercises which are helpful for developing flexibility, and alleviating physical tension. The weekend consisted of several class sessions, with participants playing their prepared repertoire, a memorisation session, a sight-reading session, and individual lessons for each course member. On Saturday evening, before dinner, we enjoyed a piano recital given by pianist Alexander Metcalfe, who played a programme of works by Satie, Chopin, Schubert and Liszt.

Built in 1974, with a powerful sonorous bass and a lyrical mid-range, this model 200 Bosendorfer was manufactured in Vienna, with ivory keys and is used for concerts and recitals in the hall.

A particular highlight at Finchcocks is the tantalizing array of pianos on which to practice. There are ten in total, and the majority are housed in the attractive crypt (see photo, above left); here, the pianos are contained in their own segregated area, allowing for private practice. Finchcocks was a musical instrument museum for forty-five years until it was purchased by current owners Neil and Harriet Nichols. The museum housed a variety of keyboard instruments, and therefore it seems fitting that the current collection also showcases an interesting selection of historical instruments.

The ‘flagship’ Steinway Model B, housed in the recital room.

Alexander gave his recital on a Bosendorfer, which is situated in the main hall on the ground floor (photo above, right). Also on the ground floor, there is a new Steinway Model B (photo, left) in the recital room, and a small Broadwood piano in the entrance hall. This instrument (see photo below) was constructed especially for Bertha Broadwood and it was designed to fit into her living room, therefore it is just 5 feet in length (and it’s nicknamed ‘Bertha’!).

Built in 1900 for Bertha Broadwood, chairman of Broadwood at the time, to fit in a space in her front room.

Most of the remaining instruments are in the crypt, and you can click on the gallery images below for more information about each one.

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Course participants brought a variety of prepared repertoire, including works by J.S. Bach (Prelude No 4 from Six Short Preludes), W. A. Mozart (Sonata in G major K. 283), Friedrich Kuhlau (Sonatina in C major Op. 55 No. 1), C.P.E. Bach (Solfeggietto in C minor H. 220), Frédéric Chopin (Prelude in D flat major ‘Raindrop’ Op. 28 No. 15 and Prelude in B minor Op. 28 No. 6), William Gillock (Holiday in Paris), and Richard Rodney Bennett (Rosemary’s Waltz).

Finchcocks hosts piano courses virtually every weekend, and there is certainly something to suit every level with beginner, intermediate, and advanced courses, alongside those for improvisation and even a course for piano teachers. You can choose from a cohort of expert course tutors including Dave Hall, Graham Fitch, Warren Mailley-Smith, Penelope Roskell, and Lucinda Mackworth-Young.

I will be tutoring two further courses this year; an intermediate course from October 4th – 6th and an advanced course from November 15th – 17th. If you are seeking a majestic weekend retreat to hone your piano skills, or you’re returning to the piano after a break, or you simply wish to connect with new piano friends, you will love Finchcocks.

Click here for the list of new courses.

www.finchcocks.com


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious 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: the review

I imagine most writers wait for reviews with bated breath. I certainly do. Writers spend a significant period of time alone. I enjoy the solitude. It offers ample thinking time and space to consider piano practice and performance. But once a book is written and ideas are set in stone, the only option is to hope that it is useful and that the relevant information has been offered in a logical manner so that it can be easily understood.

Play it again: PIANO has been a popular series so far, and Book 1 and 2  have both sold successfully around the world. Adding Book 3 seemed to be the natural progression, however it was a much more complicated book to write than the previous two volumes, mostly due to the complexity of the music and the detail required for advanced learners. You can, therefore, imagine my delight at receiving the following review earlier this week.

Renowned writer and reviewer Andrew Eales runs a successful blog called Pianodao. He regularly features new piano publications on his blog, and has already written a lovely review for the first two books in my series. The following wonderfully positive and detailed article includes information about Book 3, and offers an excellent overview of each book. Over to Andrew…


Melanie Spanswick’s Play it Again: Piano series launched with two books published by Schott Music back in 2017. At the time, I heaped praise on those books, and I have subsequently used them with adult “returners” who have also loved them.

Now, with a third book joining the series, it’s time for another look. This new review covers all three books in the series, so let’s dig in…


Who is it for?

One of the first questions I ask myself whenever looking at a new sheet music product is – “who is this aimed at?”

Popular author, teacher and composer Melanie Spanswick makes her target crystal clear from the outset, with a subtitle, ‘The perfect way to rediscover the piano’, and with a back cover description that reads:

“Aimed at ‘returning’ players who have spent some time away from the keyboard, Play it Again: Piano gives you the confidence to revisit this fulfilling pastime and go beyond what you previously thought you could achieve. Each piece in this two-book course is accompanied by constructive and easy-to-understand practice tips to help get your fingers speeding comfortably across the keys once again! The Piano Technique and Theory sections will help secure a fuller understanding of music and technique.
If you often find yourself saying ‘I used to play the piano…’ but wish you still did, then Play it Again: Piano is the resource for you!”


The first two volumes between them cover the full range of the eight grades offered by leading UK exam boards, meaning that the returning player can either recap from the start, developing good new habits while revising well-loved music and encountering new pieces, or else jump straight in at the level that suits them.

Meanwhile, the newly available third book covers post-Grade 8 and Associate Diploma level, making it ideal for those working towards professional qualifications, as well as those who are simply intent on taking their personal piano journey to the next level.

The Publications

The outstanding quality of these books is immediately apparent. The high gloss card covers contain 116 (Book 1), 120 (Book 2) and in the case of the third book 156 pages, printed on high quality paper with a slight sheen to it. The binding is very good, allowing even the third book to lie flat on the music stand, while also remaining durable.

The design itself is simply beautiful (and I mean seriously very good indeed!), and at a first skim through the books it is clear that they include a wealth of nicely engraved sheet music alongside plentiful text.

Just on the notation, I should mention for fellow purists that pieces from the Baroque and Classical Eras sometimes (including at Diploma level) include editorial dynamics and phrasing rather than taking a clean urtext approach.

There are helpful fingering suggestions throughout, again including in the third book.

In More Detail

Each book starts with a technique primer section, offering a few pages of excellent advice supported with clear black-and-white photographs. These sections cover posture, hand positions, flexibility and alignment, and advice is expanded and developed throughout the three books.

The first two books follow this with a section covering general tips about practice, including some positive suggestions for working on scales, arpeggios, finger warm-ups, and sight-reading.

The first two books each ends with a short section about Music Theory. In the first book this covers basic reminders of note values, time signatures, clefs and pitch, and key signatures, while in the second book the reader is treated to clearly explained information about scales, intervals, the circle of fifths, ornaments, chord progressions and cadences.

In place of this, the third book concludes with a short section about practice warm-ups, and although just a brief two pages, this is useful.

Between these various supports, the bulk of each book is taken up with the pieces at each level, always preceded by (at least) two full pages of advice covering such issues as:

  • Preparation (usually incorporating a suitable scale or short exercise)
  • Practice Techniques (offering invaluable and often creative advice)
  • Interpretation (usually a short suggestion or two about creating the right mood)

In the third book, these playing tips extend up to as long as 12 pages, and the wealth of detail and expertise here might be seen as the book’s key selling point. Spanswick has not only provided superb tips for the included repertoire, but illuminates effective strategies which players might equally adopt and apply in other concert repertoire of their own choosing.

A key question is whether this rich resource provides sufficient information for the adult player to work alone, without the help of a teacher. It does not claim to do so, but some adult returners may approach the course with that in mind.

Personally I believe that the three books provide an outstanding source for independent learning, but without replacing the need for a good teacher’s diagnostic expertise, support and guidance.

The Repertoire

The diversity of music selected across the three books is superb, and covers so many bases that the supporting writing is able to equally deal with a very broad range of piano playing styles, techniques and piano playing issues.

Here, then, is the full list of included pieces:

BOOK ONE:

Elementary (Grades 1-2)

  • Henry Purcell: Air in D minor
  • Christian Petzold: Minuet in G
  • Henri Bertini: Andantino
  • Pyotr Ilyich Tchaikovsky: The Sick Doll
  • Edward Elgar: Salut d’Amour
  • John Kember: Calypso
  • Elena Cobb: Super Duck

Late Elementary (Grades 2-3):

  • Jeremiah Clarke: King William’s March
  • Wolfgang Amadeus Mozart: Allegro in B-flat major
  • Robert Schumann: Soldier’s March
  • Cornelius Gurlitt: Allegro non troppo Op.82 No.65
  • Ludvig Schytte: Study Op.108 No.25
  • Scot Joplin (arr. Spanswick): Maple Leaf Rag
  • Tim Richards: Jump Shuffle

Early Intermediate (Grades 3-4):

  • J.S. Bach: Prelude in C minor BWV999
  • Henry Lemoine: Study in F major Op.37 No.20
  • Charles Gounod: Les Pifferari (The Italian Pipers)
  • Fryderyk Chopin: Prelude in A major Op.28 No.7
  • Trad. arr. Barrie Carson Turner: The Sailor’s Hornpipe
  • John Kember: Mississippi Rag
  • Bill Readdy: Three ‘Outasight’ Mice

Intermediate (Grades 4-5)

  • Muzio Clementi: Sonatina in G major Op.36 No.2 (first movement)
  • Carl Czerny: Study in C major Op.849 No.29
  • J.F.F. Burgmüller: Ballade Op.100 No.15
  • Mozart, arr. Heumann: A Little Night Music Kv525
  • Erik Satie: Gymnopédie No.1
  • Jürgen Moser: Fried Chicken
  • Melanie Spanswick: Karma

BOOK TWO:

Late Intermediate (Grades 5-6)

  • C.P.E. Bach: Solfeggietto in C minor H.220
  • Ludwig van Beethoven: Für Elise WoO59
  • Felix Mendelssohn-Batholdy: Song Without Words Op.30 No.3
  • Hermann Berens: Study in F major Op.88 No.18
  • Elena Cobb: Lavender Haze
  • Melanie Spanswick: Seahorse Dream

Early Advanced (Grades 6-7):

  • George Frideric Handel: Allegro from Suite in G major HWV441
  • W.A. Mozart: Allegro from Sonata in C major Kv545
  • Beethoven: Adagio Sostenuto from Sonata Op.27/2 “Moonlight”
  • Johann Baptist Cramer: Study in C major Op.50 No.1
  • Johannes Brahms: Waltz in A-flat major Op.39 No.15
  • Sven Hormuth: Sweat Feet Stomp

Advanced (Grades 7-8):

  • Franz Schubert: Impromptu in A flat major D.935 No.2
  • Stephen Heller: Warrior’s Song Op.45 No.15
  • Claude Debussy: The Girl with the Flaxen Hair L.117 No.8
  • Trad. arr. Barrie Carson Turner: Londonderry Air
  • Joaquín Turina: Fiesta Op.52 No.7

Late Advanced (Grade 8+):

  • J.S. Bach: Prelude & Fugue in C minor BWV847
  • Fryderyk Chopin: ”Raindrop” Prelude Op.28 No.15
  • Scott Joplin: The Entertainer
  • Sergei Rachmaninov: Prelude in C-sharp minor Op.3 No.2

BOOK THREE:

Post Grade 8 Diploma

  • Domenico Scarlatti: Sonata in E major K. 215
  • Edvard Grieg: Wedding Day at Troldhaugen Op. 65 No. 6
  • Claude Debussy: La Puerta del Vino L. 223 No. 3
  • Alexander Scriabin: Prelude in B minor Op. 11 No.  6
  • Paul Hindemith: Interludium and Fuga Decima in D flat
  • Melanie Spanswick: Frenzy, Etude for Nimble Fingers

Associate Diploma

  • Ludwig van Beethoven: Sonata in C minor ‘Pathetique’ Op 13
  • Johannes Brahms: Intermezzo in A major Op. 118 No. 2
  • Edward MacDowall: Wild Jagd from Virtuoso Etudes Op. 46 No. 3
  • Issac Albeniz: Asturias Leyenda Op.  47 No. 5
  • Sergei Rachmaninoff: Prelude in G sharp minor Op. 32 No. 12

This is a wonderfully nourishing, enriching and fascinating selection on many counts.

Firstly, the author has made a virtue of selecting contemporary pieces in popular and jazzy styles, as well as pieces equally representing Baroque, Classical, Romantic and 20th Century playing and compositional styles. And at almost all levels, there is a technical study.

Secondly, it is refreshing to welcome three of Spanswick’s own compositions here: the minimalistic Karma, more lyrical Seahorse Dream, and the dizzyingly enjoyable Frenzy: Étude for Nimble Fingers. The inclusion of two pieces by Elena Cobb is also most welcome; Lavender Haze has proved hugely popular with my students; it’s a particularly ravishing discovery!

Thirdly, for players looking for a balanced selection of appealing pieces to work on between grades, these are near perfect anthologies, with an ideal mix and juxtaposition of lesser known material and contemporary pieces alongside several of the most evergreen favourites of the traditional repertoire.

Conclusion

There is undoubtedly a significant and growing market of piano players returning to the instrument later in life, having learnt as children, and looking to progress their skills as adults.

Play it Again: Piano in my view exactly hits the spot for these players, and deserves to be a huge success both for Spanswick and for Schott Music.

From retracing the earliest steps in learning, right through to preparation for a professional diploma, Play it Again: Piano furnishes the adult pianist with a wealth of insight, information and inspiration. It is a genuinely useful, groundbreaking and to the best of my knowledge unique course, certainly deserving of a place in every pianist and teacher’s library.

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.

Writing reviews can at times necessitate an element of speculation, but this inspiring series has already passed the ultimate test: my own adult students love and are truly inspired by the first two books; the arrival of the third is welcome news indeed!

OUTSTANDING

www.pianodao.com

You can read the original review,  here. And you find out more, watch my videos, and purchase the series from Schott’s website, here. You can also purchase on Amazon, here.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious 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.


 

So You Want To Organize A Piano Competition?

Chicago Comp Logo

Piano competitions are becoming increasingly popular around the world, whether amateur or professional.  Amateur pianist and competition planner, Sally Olson (pictured below) lives in Chicago (US) and is on the committee of the Chicago Amateur Piano Competition 2016. This competition, which began in 2010, is steadily growing in popularity, with entrants hailing from many countries (the 2014 winner came from Glasgow). Few realize the tremendous amount of planning, fund-raising and marketing behind such an enterprise. Here, Sally lifts the lid on her experiences so far.


A pinnacle of achievement for an amateur pianist is to compete in an amateur piano competition. For this reason alone, amateur piano competitions are thriving and they’re popping up all over the globe. The United States is no exception. This year, with some hesitation, I asked to participate in the 2016 Chicago Amateur Piano Competition’s (CAPC) planning committee. I envisioned attending meetings, sitting back and watching “how it was put together”. 

It’s so easy to say – “Let’s start an amateur piano competition”. But, beyond that decision lurks all kinds of Catch 22’s. In my case it has become an adventure in planning and a desire to put together an “upscale” competition. Most piano competitions are what I like to think of as “cookie cutter” events. You show up, meet other pianists, play on the stage 12-15 minutes, attend a couple of social events or a masterclass, and complain vociferously about poor judging (especially if you didn’t get to the second round). The real challenge, as I see it, is how to raise a competition a level above that.

With that in mind, I am listing the “basic” criteria you need to know if you wish to design an amateur piano competition. Moving it up one level – well, I can only give you hints and theories.

Location, location, location

In the United States most of our competitions are based in largely populated areas such as Boston, Washington D.C., New York and, of course, Chicago. There are numerous reasons for this. Large cities have many colleges and universities to draw on for judges. You will definitely get a better attendance than, let’s say, in a small country setting.

Money, money, money

What surprised me the most was when I heard the actual cost of running even a small competition. In no time at all you can have expenses of $20,000 dollars and up. Competition fees (Application fees, acceptance fees and masterclass fees) will only get you half way there. So, donors and sponsors become a necessity to covering the expenses. To move our CAPC competition event up a notch we could clearly see we needed an additional $10,000 dollars. Why? Judges.

Judges, judges, judges

The most important aspect of an amateur competition to the participants is “Who will be the judges?”, and that is the “secret” to raising a competition to a higher level. It’s the difference between three local judges (who are very competent) to importing two or three international judges such as a judge from Europe, a Van Cliburn winner and so on. This will elevate the competition significantly and that alone will attract more applicants which in turn results in more application fees and a better quality of competitor.

Volunteers, volunteers, volunteers

Volunteers can make or break a competition too. They greet competitors, make sure snacks are readily available, do page turning, make announcements, build websites. The list goes on and on. Without them – the competition can fail miserably.


Sally has a lot more to say on this subject, so will  highlight the importance of marketing, ‘live streaming’, and website design in a future post.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious 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.


 

 

 

How can amateur pianists become professional in their approach to performing?

I have been staying in Edinburgh with a friend who is an excellent amateur pianist. She has attended many piano courses and masterclasses recently both as a participant and observer, and she has subsequently made some interesting comments about the differences between amateur and professional players. So this got me thinking; how can amateurs learn to be more professional in their approach to performance?

So here are a few tips based on my observations looking at some basic mistakes amateurs frequently make when giving concerts.

1. Those who are not used to performing generally shuffle on to the stage with not much more than a quick nod to the audience. It’s always a good idea to take your time and really smile at the audience – after all they will hopefully praise and applaud you after you have played.

2. Most amateurs tend to grasp onto their music score as if their life depends on it. They quickly put the score on the music desk and remain glued to it for the entirety of their performance. It might be a good idea to actually know the score well enough to take your eyes off it during the concert allowing you to focus on the music. This will enable you to give a much more convincing account. Alternatively find the confidence to perform from memory – it really isn’t as frightening as you might imagine.

3. Another common trait is to rush into the performance without giving much thought or ‘breathing space’ at the beginning. If you can build this into your performance approach then you will not only give yourself valuable time to concentrate on the opening bars, but you will also give your audience time too which will make them feel more comfortable and at ease. A pianist who rushes into their performance will unsettle an audience making them nervous.

4. Try to spend crucial practice time ironing out any tricky passages. A very common amateur trait is to master a piece beautifully except for one or two more demanding passages. So find a strategy for coping with these areas as it will make all the difference to your performance.

5. Play works that are well within your capabilities as under pressure your technique may not stand up to the demands of the piece. If you give a secure and musical  rendition of a less demanding piece you will feel better and more confident about future performances.

6. Convey the beauty within the music and learn to communicate – pros really do love being onstage and always express the music completely. They develop charisma. Amateurs can be so focused on getting through their performance that this tends to get lost. Don’t allow this to happen. Focusing on the music will also take your mind off nerves too!

7. After you have finished playing really look and smile at your audience and acknowledge their applause rather than running off stage.

8. Take every opportunity to perform in as many settings as possible and enjoy it!


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious 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.