Snapchats Duets & Trios

Snapchats was originally a collection of short piano duets which was published a few years ago. This volume has now been republished and updated, with the inclusion of extra duets and some trios too; it’s most definitely bigger and better than ever!

Snapchats are intended for students from late beginner standard to approximately Grade 4 (ABRSM level). There are 19 duets (four hands at one keyboard) and 4 trios (six hands at one keyboard) in this volume, and they are short, succinct pieces for those who want to explore the art of ensemble playing or simply improve sight-reading skills.

Broadly minimalist in style, these pieces are between 8 and 16 bars in length and they offer a wide selection of moods from expressive atmospheric works such as Sutra, Andante, Shanti Shanti and Joyful, to up-beat numbers like Quick Chat, Hopscotch, Samsara and Take Three. It was quite a challenge to write very short engaging pieces, but students and teachers routinely comment on how much they enjoy the brevity these pieces offer, and many end up repeating the piece (some pieces do have repeat signs for this purpose). Both duets and trios become progressively more difficult throughout the book.

I use these duets and trios as the basis for my sight-reading classes. When I work with students (and teachers) in group classes, one element which they all enjoy and which can also be helpful, is to practice reading altogether. In Malaysia last year I had a class of fifteen piano teachers  simultaneously playing the same trio on five pianos!

You might choose to play Snapchats for fun with friends or perform them in a more formal setting at a music festival or recital, and I hope they offer a special and enjoyable experience. You can listen to each piece by clicking on the following sound files below:

Published by 80 days publishing (Christopher Norton’s publishing company), they are available to purchase 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.


 

Play it again: PIANO Book 3

Play it again: PIANO Book 3 is now available, and, as I know some readers have been eagerly awaiting its arrival, today’s post provides some information about this new publication. I’m very excited about the third book in this series. Each book has its own character and unique collection of pieces, but this one is my favourite!

As a recap, Play it again: PIANO Book 1 and 2 were both published in 2017. Play it again is a progressive and graded piano course, published by Schott Music, intended for those who are returning to piano playing after a break. However, this course has also proved popular for students wanting to explore different repertoire between exam grades too. You can find out more about Book 1, here, and Book 2, here.

The course moves happily alongside the U.K. examination board system. Book 1 takes students from Grade 1 -4 and Book 2, from approximately Grade 5 – 8 level. Book 1 features 28 mostly original pieces taken from standard (as well as more unusual) repertoire, and Book 2 contains 21 pieces. Each ‘level’ consists of a group of pieces focusing on different aspects of technique and musicianship.  For many, particularly those learning alone, the most important facet are the copious practice notes and suggestions which accompany every piece. Piano teachers who fancy an anthology of pieces to work through with their pupils may like to explore this course too.

Play it again: PIANO Book 3

Book 3 will take students on from where Book 2 left off; approximately Grade 8 level through to Associate Diploma level. The new book is much larger than Book 1 and 2 (at 156 pages), and the practice notes which accompany each piece are, as may be expected, far more extensive.

What you can expect to find in Book 3

Book 3  consists of 11 piano pieces,  the majority of which are drawn from standard repertoire (with emphasis on pedagogical works and those suitable for exams). Similar to Book 1 and 2, there is a ‘technique’ section at the beginning of Book 3, with practical exercises and suggestions; these are especially helpful for those with tension issues. In the ‘technique’ section I have included hand flexibility exercises, information on the Bridge position, and exercises for developing finger agility  (especially for the fourth and fifth fingers), as well as thumb exercises. The Warm-Up exercises at the end of the book focus on ways of developing a more holistic approach to pre-practice preparation.

Each piece contains between 3 and 10 pages of practice ideas and tips, as well as many musical examples, diagrams and photographs. The layout is very similar to that of Book 1 and 2. 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 of Book 3,  whilst others may prefer to ‘drop in’ at a later stage.

Book 3 is divided into two parts:

1. Grade 8 – Post Grade 8 Diploma

2. Post Grade  8 Diploma –  Associate Diploma

As Book 3 is a much more advanced level than that of Book 1 and 2, the repertoire is classical and the book is geared towards those who want, or are possibly considering, taking post Grade 8 exams. It’s possible to create a suitable post grade 8 diploma (ARSM/DipLCM) or Associate Diploma (DipABRSM, ATCL, ALCM) programme entirely from this book.  The former section consists of six works, and the latter, five. Each section contains a concert study (in the same manner as Book 1 and 2), alongside a collection of standard, as well as lesser known, pieces.

I hope you like my selection! This choice was based on many factors: the need to include pieces which employ particular techniques, musicianship, and, most importantly, works which display the chosen composer’s overall style effectively, and it was imperative to represent many different styles of music. Each work also had to be enjoyable to play, and, as with most commercial publications, some works simply had to be well-known. Other more practical aspects, such as overall programming of the book and the length of the piece, also came into play.

Book 3 Repertoire

Grade 8 – 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

Post Grade 8 Diploma to Associate Diploma Level

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

Layout

I’ve included the scale and arpeggio of each key, where appropriate; or I have linked it to those already featured in Book 1 and 2.  There are warm-up or pre-practice exercises, tailored to every piece. My aim was to highlight a myriad of practice ideas and different methods of breaking pieces down, hopefully re-assembling them with ease and with a 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. There are four videos online already, on Schott’s Youtube channel, and we will add another three teaching videos to this playlist very soon.

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The pages are well laid out and are designed with ‘tip circles’ and ‘technique box-outs’, and I hope it’s an easy to use course, inspiring pianists to rekindle their love for the piano (see gallery above for an example of the page layouts).

Play it again: PIANO is now sold worldwide and many piano schools are using it as their course of choice for students. Schott Music and I launched Book 3 on April 4th at the Frankfurt Musikmesse (see image at the top; pictured with my editors, Robert Schäfer and Schott Editor-in-chief Rainer Mohrs, and the Cristofori Singapore team).

This year I will be travelling around the U.K. visiting various music stores giving Play it again workshops, so if you would like to find out more about the books, please keep an eye on this blog for updates about my travels. I’ll also be visiting the Far East twice for book tours, as well as Germany and Italy.

You can purchase Book 3, watch my teaching videos, and find out more about the Play it again: PIANO series, by clicking here.

Alternatively, purchase from 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.


 

Selecting the piano course for you: 5 top tips

My most recent article for Pianist Magazine’s newsletter focuses on piano courses. Hope you find it of interest.


Piano courses are becoming increasingly popular amongst adults and children learning to play the piano. And to keep abreast of this growing demand, there are significantly more opportunities for this student demographic, with courses for students of all levels, semi-professionals and piano teachers, popping up every year.

My first post offers a few tips for those considering a course, and my second (to be published in Pianist’s next newsletter) will offer suggestions for preparing for such an experience.

  1. When selecting your course, it may be prudent to decide what you would like to achieve. It might be that you want to study with a particular teacher, or perhaps you fancy playing more chamber music or duets with a fellow pianist of a similar standard, or it could be that you need more experience at performing in public. Look for courses with an emphasis on your chosen aspect. Each one will offer something different and unique.
  2. There are piano courses which pride themselves on a really luxurious experience with sumptuous food and beautiful accommodation (although you may pay a premium), whereas others might be held in a school, but offer excellent practice facilities with well-tuned instruments. Offsite B&B accommodation is a prerequisite for some residential courses, which in turn can provide much-needed relaxation and respite from a demanding schedule.
  3. Generally, the larger or longer the course, the more fellow students you will meet. Piano courses can be wonderfully social affairs with the same students returning year after year, forming close friendships. This is the primary reason why adult students stick to the same ones; camaraderie can fuel an optimal study experience.
  4. If you would prefer to be an observer, attending lessons, workshops and classes, but not participating, then this can be a great introduction. Many courses offer this option but always check with the course administrator. ‘Open class’ policies are most helpful for the less experienced student. I encourage my students to attend as many master classes and workshops as they can, because often more can be learnt this way, without nerves and stress intervening; it’s then easier to decide if this course of study is suitable for you.
  5. Some courses are ‘specialist’ with one expert teacher giving master classes for a select group of students (these are usually shorter or weekend courses), whilst others include multiple study options such as theory, aural, composition lessons and sight-reading classes, or the chance to study with more than one faculty member. You may like to take this into consideration, particularly if you are preparing for an examination, diploma or concert performance. For those less confident in their playing ability or skill, there are courses which focus on certain levels; intermediate courses or courses for beginners or elementary players, for example.

The following piano courses are held in the UK and all offer a different experience (they are placed in alphabetical order):

– Benslow Music Courses

– Chetham’s International Summer School and Festival for Pianists

– Finchcocks Music

– Hindhead Piano Course

– Jackdaws Residential Piano Course

– Piano Week

– Summer School for Pianists

Image: Finchcocks Piano Courses


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.


Stars of the Albion Grand Prix 2019

March is one of the busiest months for music adjudicators or music judges. Many British music festivals, and particularly those affiliated to the Federation of Festivals, take place during this time, and therefore adjudicators are buzzing around from one to the next, hearing large quantities of young (and older) players. During this past week I’ve been adjudicating in Bedford, at the Bedfordshire Music Festival (U.K.), and this week I will be in Somerset for the week, enjoying a feast of music at the Highbridge Music Festival, near Bristol.

As an adjudicator for the British and International Federation of Festivals (BIFF), I get to hear a vast number of young and more mature performers. I normally adjudicate the piano classes, but as a generalist adjudicator, it’s not unusual to judge some instrumental classes too. Increasingly, I’m invited to judge competitive festivals which are not affiliated to BIFF. Last Saturday was one such occasion.

The Stars of the Albion Grand Prix is a popular competition organised by founder and executive producer Evgenia Terentieva (pictured to the left). It’s been a great pleasure to be involved with this event for four of its six-year history.

Stars of the Albion is an international performing arts festival & competition. Held annually, it seeks to join talented musicians, dancers, actors and artists from across the world, forming a unique bridge connecting different cultures and in particular, that of Russia and Great Britain. It aims to provide valuable opportunities for young emerging artists to perform, learn, communicate and develop.

The project is organised and promoted by Musica Nova, an International Academy of Music based in London, and a bilingual establishment combining the best of British and Russian teaching principles. It is held under the Patronage of the World Association of Performing Arts (WAPA) and is supported by the Mission of Rossotrudnichestvo Russian Culture Centre in London.

This year’s competition was held from March 1st – 3rd 2019, and it consisted of two rounds; the first was a private video recorded round, and the second was open to the public and held in several venues across London. The final Gala concert took place at the Rudolf Steiner Theatre in central London. This year, Stars of the Albion hosted participants from the United Kingdom, USA, Canada, Israel, Malta, France, Spain, Greece, Saudi Arabia, Hungary, Philippines, India, Bangladesh, Bulgaria, Romania, Ukraine, Latvia, Armenia, Georgia, Kazakhstan and Russia.

Participation is open to artists from six years old, with no age limit, and is divided between five age categories with two participation options; amateur or professional. All styles and genres can be presented for the competition programme. This year the event was held during one of the major Russian traditional festivals called “Maslenitsa”. There were cash prizes for the best performance of music by a Russian composer and for the best vocal performance in Russian language. The adjudication panel comprised a variety of international judges, all known in their field.

I chaired the instrumental jury which was held at Peregrine’s Pianos, situated in Gray’s Inn Road. We totalled four judges; alongside me (from left to right in the photo above) were Rebeka Molly De Gama (U.K.), Snezhana Polshronova Karnolsky (Bulgaria), and Constance An Chi Hsieh (China).  The photo below is a ‘flashback’, or a happy memory of the first time I was on the jury panel at this competition.

Performers were either pianists or violinists, and the categories were all age related. Many of the performances were superb and the overall standard was extremely high.

The selected repertoire, generally a free choice, was mostly standard fare. Whilst it’s always lovely to hear old favourites, for future competitions, I would encourage young players to explore more Contemporary repertoire. Some performers were clearly just beginning their musical journey, and whilst extremely competent and confident, were still in the process of learning to perform, and others were already well established young players; there was also a category for adult amateur musicians too. The overall class winners performed at the final Gala concert.

I really enjoyed working with several jury members because I appreciated the feedback from fellow adjudicators. Whilst we tended to agree on who should win, it’s useful to gain insight into a fellow musician’s thoughts regarding certain aspects of playing and performing. And as I often adjudicate alone, it’s a real pleasure to work closely with others in this respect.

Stars of the Albion Grand Prix provides an important opportunity for young musicians and artists from across the world. All those who took part did so because they valued the chance to be heard and evaluated by a professional jury. Over the past few years, Evgenia Terentieva has organised and developed one of the most vibrant and artistically satisfying competitive events in London for emerging artists, and long may this continue.

www.starsofthealbion.org.uk


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.


 

Twiddling Your Thumbs

Recently I’ve been working with several students, aiming to develop strong, active thumbs. This may sound rather strange, but we tend to take the thumb for granted. They protrude at the side of each hand and we just expect them to support the fingers. I’ve written several times, here on this blog and in various articles, about the importance of a strong finger technique, but so far I’ve written little about the poor old thumb.

Thumb movement can make a colossal difference to many aspects of piano technique, as essentially they ‘control’ almost half of our hands, due to their dominant, and slightly lower, position (compared to the fingers). Alberti bass accompaniments, octave playing, pristine rapid passagework, are just a few of the typical piano elements demanding a clean, well-formed thumb. In my teaching, I’m very aware of a student’s movement during piano playing. Demonstrating to pupils ‘how’ and ‘where’ to move is an issue which must be constantly addressed. Without correct, helpful movement, technique really can’t be developed. This is certainly the case with our thumbs, and they require a different approach to the fingers.

Whereas fingers are encouraged to play with all joints active, that is, not collapsing, and on the tips (or finger pads), ensuring strength and contact with the key, the thumb will, by necessity, play on its side. However, like fingers, they are best utilized with the joints fully engaged for optimum movement. If we allow our thumbs to just ‘hang’ or lag behind our fingers, or even worse, ignore them altogether, they will be unable to articulate with clarity and precision.

Here are a few ideas for clean thumb playing:

To be aware of thumb movement, start by moving the thumb; you can do this exercise away from the keyboard. Sway your thumb back and forth under the hand, gradually building flexibility. It can also help to move the thumb in a circular motion over the hand too, but aim to do this carefully and free of any tension.

Now experiment at the piano with four white notes; C, D, E and F using the right hand. Try this fingering 1, 2, 3, 1. The first and last note will be played by the thumb. When you play the third finger on the E, lift your wrist slightly allowing the thumb to go under the hand to play the final note, but don’t let go of the E. You’ll notice this position, that is playing the E and F together, will contort your hand slightly. Make sure your hand muscles and tendons, especially around the thumb joint, are pliable and flexible, so this position feels comfortable; it will require a ‘letting go’ or release of the tendons and muscles within the thumb joint in order to feel relaxed. This is best done whilst keeping both notes depressed, and it feels easier if you ‘drop’ you hand and wrist (as opposed to keeping them in a stiff position), releasing tension. Now do this with the left hand, perhaps using C, B, A and G.

You can also experiment with arpeggios. Using the right hand, play a C major arpeggio; middle C with the thumb (1), E with your second finger (2), G with your third finger (3),  and C (above middle C), again with the thumb (1). When you reach the G with the third finger, turn the thumb under the hand, leaving both finger and thumb in place, as shown in the photo:Try to ensure that your hand keeps loose and relaxed as both notes are depressed. Again, it’s the release of tension in the hand and thumb joint as the notes are held which will help and encourage easy thumb movement.  Now try this with left hand too; a C with the fifth finger, E with the fourth finger, G with the second finger, C with the thumb, and then turn onto the E with fourth finger, holding both the second C and E in place, releasing the thumb joint muscles.  This gap might feel unnatural at first, but when combined with a free wrist and arm movement, it will eventually feel relaxed.

Aim to use thumbs on a scale. Taking C major again, try this fingering: 1, 2, 1, 2, 1, 2, 1, 2 or even: 1, 3, 1, 3, 1, 3, 1, 3.

This works well with a chromatic scale too. It may feel a little unorthodox to begin with, as the movements required will test the thumb, encouraging it to ‘move’ out of its comfort zone, but provided this is done with total flexibility in the wrist and arm, and without tension, the thumb should feel more controlled.

Finally, find an Alberti Bass pattern (a broken chordal accompaniment figure), which requires the use of thumbs. Here’s a left hand example from Beethoven’s Sonata in C minor Op. 10 No. 1 (first movement):

A weak or flabby thumb is very obvious in this pattern (generally the thumb would play the repeated middle Cs in the example above). The thumb must skim the keys lightly but very precisely and rhythmically. After blocking out the chordal pattern (playing the notes altogether, so you are aware of the fingering and note patterns), play deeply into the keys on every note, with a heavy tone. Accenting can help, at first just on the thumb, ensuring it plays on the right hand corner of the nail and with a good connection to the key surface. Now accent every note, employing a very free rotating wrist movement throughout. Once the fingers have been given a thorough work out, play the note patterns again very quickly and lightly ensuring a tight rhythm. It’s essential to balance the hand in passagework such as this, so a combination or finger/thumb power and wrist rotation will be crucial. But without an active thumb, achieving evenness will be almost impossible.

I hope these suggestions may be of help. They will at least draw attention to the plight of the thumb, so it hopefully won’t be a bystander during piano practice sessions.


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.


Etude op. 97 No 1 by Anton Reicha

Some readers will know that I write a regular ‘how-to-play’ article for Pianist magazine; If you’ve yet to discover this magazine, you can find out much more here. My article focuses on elementary level pieces for students of around Grade 1 – 3 level. It’s actually called a ‘beginners how-to-play’, but in reality few students start with such repertoire. Our audience is mainly adult amateurs, teachers and students, and I always appreciate your kind comments (and there are many!) regarding the magazine and my articles when I visit various parts of the world, adjudicating and giving workshops.

Around 900 words in length, my column aims to shed some light on the style of each chosen work whilst offering some detailed practice ideas. Pianist magazine ensures that readers can listen to and play each piece, and every edition contains the score of the piece and a recording, which is played by Chinese pianist Chenyin Li.

A particularly wonderful aspect of my brief is that it has brought me in contact with the music of a myriad of lesser known composers. In this respect it has been a real education. Magazine editor Erica Worth and I are constantly searching for suitable material and this has led to the discovery of whole collections of various educational piano pieces. Always mindful of the level and difficulty of the piece, occasionally we unearth a composition which may be slightly trickier than the expected level, but which we feel just must be included. The featured piece in Pianist magazine edition 105 was one such piece.

Etude Op. 97 No. 1 (see above image) was written by Anton Reicha (1770 – 1836), who was a friend and contemporary of Beethoven; the two composers studied at the University of Bonn together.  Reicha is probably best known for his wind quintet literature and the important role he advocated as a teacher, numbering Liszt, Berlioz and Franck amongst his pupils. He wrote treatises on various aspects of composition and theory, but due to his apparent aversion to being published, his music largely fell into obscurity soon after his death, and his life and work have yet to be studied in detail.

Reicha contributed to the piano repertoire via a series of fugues and etudes, as well as larger scale works, including a set of variations lasting over 45 minutes in length. Inventive and imaginative, he was an early advocate of polytonality and asymmetric meters. Reicha’s fugues were also renowned for breaking the usual strict rules. However, his music is predominantly tonal, with a spontaneous quality, and his scores are relatively free from the ubiquitous composer’s musical directions, leaving interpretation solely to the performer.

The Etude Op. 97 No. 1 is an extremely beautiful, contemplative little piece; the melody  largely floats serenely above a series of repeated left hand chords, and then roles are reversed later in the piece. This Etude is an exercise (or a study) in balance between the hands, chordal balance and cantabile. Yet ultimately, it’s all about developing an elegant, personal reading with a depth of colours via a rich sound and judiciously balanced phrases. Irrespective of your level as a player, I urge you to consider playing this piece, if only to revel in the delectable harmonic twists and turns combined with a simply delicious melodic line. You can enjoy pianist Ivan Ilic’s performance by clicking on the link below. To  subscribe to Pianist magazine, click here.

You can read my ‘how-to-play’ article on this work here:

Etude Op 97 1a by Anton Reicha

If you would like to purchase and download the music for this piece, click 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.


 

A Workshop at Forsyths

For anyone in the Manchester (UK) area, I will be presenting an afternoon workshop at Forsyths music shop on Saturday 26th January 2019. Based in Manchester city centre, Forsyths is a major music store which holds regular events and workshops. My workshop starts at 2.00pm and will finish at around 4.30pm, and it is intended for teachers, parents and students.

The afternoon will focus on piano technique basics; how to keep relaxed and flexible at the keyboard and how to apply relaxation methods to various technical patterns such as scales, arpeggios, broken chords, and so on.

There will be an opportunity for audience participation too, and I will also be presenting my books, Play it again: PIANO Books 1 & 2, and Book 3, which will be published very soon. The books will be on sale throughout the afternoon, and we will finish with a Q&A session. Read more about my piano course on Forsyth’s blog this week by clicking here.

To find out more and book your ticket for this event, click  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.


 

Fruitful Fingering Part 2

This is the second article in my series for Piano Professional Magazine, published by EPTA (European Piano Teachers Association): a teacher’s publication, for which I write the technique feature. You can read the first article, here, and in Part 2, I look at different methods of applying certain fingerings, offering various options  for students.


Teachers all know the importance well-placed fingering has in the context of learning a new piece, and this fact remains true irrespective of a student’s level or ability. My previous article examined several expected fingering techniques, and in this article I will endeavour to venture a little off-piste, with a few different ideas around this vast subject. Our goal, as teachers, must be to equip our students so that they can eventually think for themselves, writing their own fingering on every score.

Firstly, I return to reiterate perhaps the most vital concept when learning to finger fruitfully, and that is the assimilation of scales, arpeggios and broken chords; if students have thoroughly learnt these patterns, then adding fingering to most piano pieces will feel simple and natural. This point cannot be stressed enough, as without these symmetrical note patterns and their fairly rigid fingerings, pupils simply won’t be able to grasp the basics of piano playing. If your student hasn’t been taking exams, it might be prudent to suggest the acquisition of a scale manual – both the ABRSM and Trinity College London publish separate volumes with all keys, scale permutations, and fingerings.

Knowing your fingering is paramount, and as a general rule, once a fingering has been chosen, written into the score and played through, it’s highly advisable not to change it. This cardinal rule certainly rings true for less experienced players. Our brains seem hard-wired to play patterns or sequences, but once these patterns are even slightly distorted, it causes us much grief and cancelling them altogether will feel very unnatural.

Practice tends to make ‘permanent’ as many teachers will attest, so aim for students to be quite sure of their finger selections before they leave the lesson. Try going through a piece slowly with them, hands separately, checking that they are actually using the fingering which has been added to the score. This will be key to successful absorption of each hand’s fingering, and will stop the inevitable corrections which will occur at the following lesson if this stage in the learning process has been side-stepped.

After advising our students to religiously stick to one fingering for their pieces (especially for any fiddly figurations), it can be extremely liberating to throw out this rule when returning to study a piece for the second or third time. This may only apply to more advanced pupils. Occasionally students will play a piece, leave it for a while, only to return at a later date to find that the fingering which once fitted like a glove, now feels less than ideal. In this case it’s time to revise the original fingering and search for something more convenient. Whilst it may appear akin to climbing Everest, a more advanced student can reconfigure passages with relative ease, especially when they are able to work out the new fingering for themselves.

Smaller hands inevitably struggle with certain elements, namely wide intervals and large chords, which can be challenging, particularly when playing extended passagework. Fingering must be very carefully applied when taking this fact into consideration. Sometimes the only option is to ‘rearrange’ passages, leaving out notes which don’t disturb the flow or the construction of a piece. Adding a spread chord where the original is too large, or rewriting chords in some cases, may provide a simple solution. Dividing passages between the hands is another beneficial tactic. It may appear as though cheating, but it can be a workable option if the sound and character of a piece remains largely unaffected.

Octaves are renowned for causing smaller hands grief, but with regular flexibility exercises and a relaxed wrist and arm, most students can handle them. There is much debate over the fingering of octave passage work. Some schools of thought are insistent on using the thumb and fifth finger for all such passages, whereas, others believe the thumb combined with a fourth or fifth finger provides a better option. Certainly when playing fast chromatic passages, the fourth is a welcome addition (and if a student has a large hand, a third finger may also be used):

This passage from Study No. 49 of Czerny’s Art of Finger Dexterity Op. 740 illustrates how the fourth finger, if implemented scrupulously and only with a relaxed or loose arm and wrist, can be an excellent method of moving quickly around the keyboard.

Sliding from two black keys when playing octaves, can be a helpful way to join notes smoothly (I’ve written about ‘finger sliding’ in more detail in my previous article: Fruitful Fingering Part 1). It should also be remembered that using the thumb on black keys is now regarded as acceptable, whereas previously, this practice was sometimes considered ‘unsuitable’ fingering.

How the fingers physically play notes is another often forgotten factor when discussing fingering. I work with students until they can easily use their fingertips when playing fast figurations or scalic passage work. The tips are best incorporated via a flexible wrist and a ‘hooked’ finger position:

This fosters firmer finger and rhythmic control. However, flatter fingers can work well too, for chords, especially those on black notes, and they are generally more conducive to achieving a completely different timbre. Some impressionistic repertoire might be best played with this approach.

Two notes, one finger! An effective tactic for large chords, such as the following, which employs a spread thumb:

Chopin Prelude (Op. 28 No. 7 in A major), is easier to grasp when using the thumb over the C sharp and A sharp:

This also works for white notes:

And, for certain repertoire, playing ‘in the crack’ might be a practical alternative:

Two fingers playing the same note can have a real impact on certain passages, carrying more weight and drama, and the thumb is also able to support the other fingers creating a deep, rich sound.

The thumb might also be extended slightly when playing back notes, therefore avoiding mishaps involving slipping off or missing notes (example below, to the left):

Fingers have their own character and personality, and, again, this is a very personal element when considering how fingering might be applied to a passage. As a general rule, the thumb and possibly the third finger appear stronger than the others, perhaps due to their positioning on the hand. We aim to encourage students to ‘strengthen’ their fingers, but realistically everyone’s hand is different, and this applies to finger strength as well. I ask students to examine their fingers, observing how they work at the keyboard, deciphering which they feel is the strongest or most powerful. Once then have done this, they are in a better position to work at instigating a more secure technique; developing power in the fourth and fifth fingers especially. However, this must be done with great care, using flexibility in the wrist, arm and hand so as not to cause tension issues.

Finger pedalling is a topic which must be mentioned here. It’s not pedalling as we know it, but it does create a similar effect, as if depressing the sustaining (or right) pedal. The technique of finger pedalling is essentially the over-holding of notes i.e. holding down the keys whilst continuing to play other notes over the top (or underneath). This was a popular technique used for the harpsichord and other early keyboard instruments before the pedal was invented, and as a result it is often synonymous with Baroque music. Before the sustaining pedal (which was implemented from approximately W.A. Mozart’s time onwards), holding down the keys was the only way of sustaining the sound. The following is a well-known example:

Here, the two lower notes in J. S. Bach’s Prelude in C major (No 1 from the Forty-Eight Preludes and Fugues Book 1), are held, as the top line (played by the right hand) plays the melodic material. This example has been ‘written in’, but it’s often the case that a player must use their own artistic judgement when employing this technique.

Fingering can have quite an impact on tonal balance. A suitable fingering will enhance chordal balance, and will allow melody lines to come to the forefront of the texture. Guided practice is required when voicing any chord; whilst firm fourth and fifth fingers are generally a prerequisite for melodic playing in the right hand, much suppleness in the wrist and hand will be necessary behind this firmness, supported by the Bridge position or the knuckles. Where possible, it can be practical to introduce the thumb for melodic material, even if it involves much movement around the keyboard.

Finally, if we can guide students to think about fingering before the learning process begins, they will become aware of the fundamental impact this can have on their learning capacity.

You can read the original article, here:

Fruitful Fingering Part 2


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.


 

 

 

 

Five New Year Tips to Seriously Improve Your Piano Playing in 2019

Happy New Year! It’s January 1st 2019 and I hope you have all enjoyed a wonderful Christmas and New Year’s Eve. At the start of any new year, we make resolutions, create new goals, or perhaps re-evaluate or reflect on existing goals. It’s the perfect time to revisit our hobbies, or investigate new ones. Many have written over the past year, telling me how they have really loved learning to play the piano again, after a lapse of one or two, or indeed many, years. Today’s New Year’s post is intended for those who have taken a break from their piano playing and have decided to start playing again. It is possible to move from intrepid pianist to competent, confident player with the help of an excellent teacher and solid, regular practice.

Here are a few ideas to help your practice regime over the coming weeks. Piano practice can tend to fall into a rut and it usually requires an occasional overhaul, so that interest is kept and improvement, monitored.

  1. Regularly monitor your progress. It doesn’t matter how you do this; you might decide to write your updates in a notepad, noting what you feel has improved, or it could be that you ask for judicious feedback from your teacher, or perhaps perform regularly to fellow students, who might provide a candid opinion (this usually only works if you reciprocate the favour!). However, as a pianist it’s too easy to lock yourself away, playing only for yourself, where it can be challenging to be honest about improvements. Try to remain pragmatic about your own playing, because this is the most effective way to change for the better.
  2. Record your pieces. Recording our playing reveals far more than we might imagine. It doesn’t matter how you do this, and you may prefer to record short passages, phrases, or a few bars at a time, but as long as you listen carefully to the results, you will be able to find a starting point from which to build and improve your technique and interpretation. We rarely sound how we think we do, so it can be a shock at first, but it proffers a realistic perspective which can really help in the long run.
  3. Only play a piece through at the end of a practice session. This goes for sections or movements of works too. A common misconception when practising is that it is beneficial to perpetually play your pieces through. There is no doubt that this can be advantageous for memorisation and for structural practice, but during the early stages of learning particularly, it is generally more useful to spend time working at small sections. The ability to break pieces down, almost reconstructing them, enables our brain to think about them in a different way and can certainly aid mastery. When you’re happy with your sectional practice, you might feel it necessary to ‘play’ the piece in its entirety, either at a slower tempo or up to speed at the end of your session.
  4. Slow practice is key. Many articles sing the praises of playing slowly. But it is such an important facet that it’s definitely worth adding to your new list of practice tools for 2019. My suggestion to students is to implement several practice speeds whilst working at a piece (or a technical exercise or study). The slowest tempo must be one which works for exaggerated practice, whereby you can equally focus on both hands, fingerings, movements, notes and sound at the same time. Therefore you should ideally think about a subdivided beat (if the piece is in quavers, practice in semiquavers or even demisemiquavers, for example). The second tempo can be a little faster, allowing you to ‘move’ around the keyboard, but still keeping in check all the above technical considerations. The final tempo could be similar to the speed of the piece, but slightly slower, so that you still have crucial thinking time, for accuracy and sound.
  5. Articulation will make or break your performance. Clarity, neatness and precision in your finger work will make all the difference when it comes to clean playing. It’s vital for almost every style or genre, but of special importance in Baroque and Classical music. Clean finger work can be developed by ensuring fingers not only play every note with a full sound, but also by paying attention to the end of a note too, that is, how long you leave your finger depressing each key. If you are playing rapid scalic passages, for example, make sure notes are equal in length by employing a very firm pulse. Such articulation is more of a challenge for the weaker fingers, such as the fourths and fifths, but it can be honed with spot practice and a flexible, loose arm, wrist and hand (remembering that only the fingers and knuckles should remain firm).

I hope these ideas may inspire you to focus rigorously during your practice time, so that you make the most of your sessions irrespective of whether they are long or short. Good Luck and enjoy your piano playing.

For those returning to playing the piano, you may like to take a look at my piano course written especially for the returner. Play it again: PIANO is published by Schott Music, and currently consists of a two-book course which contains 49 graded, progressive piano pieces from the standard repertoire, as well as including many more unusual works, from Baroque through to Contemporary (also including Jazz, Blues, Rock, Improvisation, and Latin styles). Each piece has copious practice tips and suggestions, as well as a whole technique section at the beginning of each book, and a music theory section at the end of each book. Book 1 is approximately Grade 1 – 4 level, Book 2 is Grade 5 – 8 level, and Book 3 (to be published in February 2019) is Grade 8 – Associate diploma level. Find out more by clicking here, and you can purchase all the books on Amazon too.


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: A Piano Course with a Difference

Last Friday evening I disembarked from my train at Paddock Wood station in Kent (UK), and enjoyed a meandering car journey through what appeared to be a never-ending warren of country lanes. Eventually, we turned  on to a long, narrow private road, which peregrinated around various fields before revealing, in the distance, a large, palatial mansion. The house was beautifully set, classically formed (to my eye, at least), and effectively lit. Next to the house was a much smaller building, a coach house, and this was to be my home for the next two days. My room (pictured below) was of ample proportions, tastefully decorated in rich dark colours with luxurious fabrics and an impressive fireplace; had I inadvertently stepped into a romantic Eighteenth century novel? I fully expected Mr. Darcy to sweep in and take me to dinner.

This was my introduction to Finchcocks Music. Finchcocks is an early Georgian manor house (pictured at the top). For 45 years it housed a large collection of historical keyboard instruments which was open to the public. Recently, Finchcocks was sold and has now started a new chapter, reopening as a retreat to study the piano. Piano courses are a feature most weekends throughout the year, and they are largely frequented by adult amateur pianists and piano teachers who are keen to improve their skills and meet other musically minded souls.

As piano course director it was my job to ensure participants savoured the whole experience. My course began on Friday evening and concluded at 4.00pm on Sunday, it was advertised for intermediate players (around Grade 4 – 7 of the ABRSM exam system), but most of the seven attendees were beyond this level. From all walks of life, my students clearly shared a common love for the instrument and a tremendous capacity to learn.

The course was conducted in the main house; the basement had been converted from cellars into a most attractive and unusual performance and practice space (see photo to the left, where I am coaching Finchcocks owner, Neil Nichols). There were five designated sections for solo practice; within the cellars, rooms had been created with sound proof glass doors, each one resplendent with mostly historic grand pianos. There were seven grand pianos in total, available for student use. The main space contained a concert sized historic instrument, with plenty of room for participants to sit, walk and spread out during the course. And there was even a comfortable ‘coffee area’ with several sofas, designed as a much-needed respite from the intensity of the course.

I love teaching, talking about, and writing about piano technique, and Friday evening’s class was a basic introduction, surveying wrist flexibility and motility during practice and performance. This was well received, and it certainly got participants thinking about the importance of cultivating a relaxed posture. This is the first step to overall improvement. ‘Technique chat’ continued on to dinner. The meals were enjoyed back at the coach house, and they  took place around a lavishly set table (pictured above), and consisted of a three-course meal with delicious food and copious wine, all prepared by a chef employed for the weekend.

Saturday was a full day, commencing with memorisation techniques, moving onto master classes, which continued after lunch. Course members were generally quite anxious whilst performing, but (hopefully) due to the relaxed nature of the weekend and the constantly evolving friendships forming between them, these open classes gradually became more light-hearted.

One aspect of the course that I particularly enjoyed and appreciated was the opportunity to give one-to-one lessons. Neil Nichols, who now owns Finchcocks and hosts the courses, was keen for students to have time with me on their own, rather like a private lesson. This works extremely well, and it offers the chance to address issues in a more private domain. I gave private lessons on both Saturday and Sunday during the course.

After a feast on Saturday evening, Sunday began with a morning of sight-reading; ordinarily this is seen as a dull, perfunctory element of piano playing. But I’m always keen to show that it can be fun. After waltzing through my sight-reading notes (I aim to give course members practice notes), we embarked on solo sight-reading, and, after coffee, this was followed by duets, and finally, trios or three pianists at one keyboard. The trios were definitely a highlight (see photo above), and due to the plethora of instruments, we were able to double up and have six pianists at two pianos (photo below). I find this one of the best and most engaging concepts for those wanting to improve their reading. It also encourages students to really become acquainted with the fellow course members.

After all the classes and private lessons, the course ended with a final performance of a trio by composer Mike Cornick. Coffee and a rather indulgent slice of cake closed a delightful weekend. I had made wonderful new friends and worked with some talented pianists.

Piano courses are a great way to improve many facets of music study. They seek to inspire, address technical and musical issues, consolidate learning skills and endeavour to suggest new practice ideas. My thanks to Neil and his wife, Harriet, for their superb hospitality. If you would like to study the piano in luxury at a country retreat, do check out Finchcocks. Next year’s tutors include Graham Fitch, David Hall, Andrew Dunlop, and Warren Mailley-Smith.

If you would like to attend one of my courses in 2019, the dates are as follows:

June 14th – 16th

September 6th – 8th

November 15th – 17th

I look forward to meeting you!

For a more thorough review from course participants and Jenny Maslin, who helps to run the piano courses held at Finchcocks, please click here.

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.