Approaches to Staccato Playing

Posted on August 19, 2017 by The Classical Piano and Music Education Blog

I’m a regular contributor to Piano Professional (the British European Piano Teachers Association (EPTA) magazine); I really enjoy writing for this publication, which focuses on providing piano teachers with helpful information. The following article was written for Issue 43 (published earlier this year), and examines various approaches to staccato. I hope it’s of interest.

When it comes to tackling articulation, there are numerous different touches to embrace, but the most crucial to master are legato and staccato. Staccato (or short and detached), tends to be ignored as lessons commence, perhaps due to the fact that some exam boards only require staccato scales above certain grades, therefore short, spikey playing is generally limited to a few notes or phrases in certain pieces at the beginning. This is possibly adequate for Grade 1, but if pupils can acquire a feel for the quick release of the keys and highly developed reflexes necessary for staccato technique, it will certainly prove beneficial even for relative beginners.

Legato generally poses few problems for students; it may take a little practice to become accustomed to the ‘overlapping’ of notes or ‘walking’ over the keys in order to join them smoothly, but most find the task surmountable fairly quickly. Legato scales can therefore be easily grasped. This is often not the case with staccato; crisp, short passage work at speed rarely feels comfortable (especially in the beginning), hence staccato scales are frequently taken at much slower tempos than intended. Scales are only one small facet of acquiring an effective staccato technique, but they can provide a convenient vehicle for those getting to grips with detached playing.

There are many variations on the staccato theme, including ‘close-to-the-keys’ staccato, finger staccato, wrist staccato and whole-arm staccato. Each touch demands a different technique and therefore a different body movement or motion. Making progress can take time and patience, because excellent coordination is a prerequisite. Tension can also be an overriding concern, sometimes irrespective of standard, and it can ruin the best of intentions. Economy of movement is essential, as is an inbuilt flexibility, so practising fruitfully, in small but regular sessions is probably the best approach. Aim to encourage students to work little and often, with a totally focused mind-set, building up muscle power and flexibility.

How do we help students conquer thorny issues associated with short, detached playing? Each staccato technique requires a multifarious perspective, so let’s look at them individually.

Finger staccato is the most commonly used for rapid passagework. When working at any new motion or technique with pupils, it’s helpful to ask them to drop their arms by their side at the start of practice sessions, as well as after practising a repeated movement, for a minute of two. If they can assimilate the feeling of ‘dead’ or heavy arms (which is my terminology, but really this only means a totally relaxed upper body), they will learn just how relaxed and ‘free’ they should ideally feel when playing. It can also help students become aware of any tension building as they work, and it provides a default relaxation position to assume after engaging muscles.

Finger staccato implies that only the fingers should move. However, if the arms and wrists remain completely static, tension will quickly arise, rendering fast movement challenging. Ensure complete freedom in the upper body. If you can replicate this feeling when playing, flexibility won’t be an issue. As with many technical challenges, focus on how your body feels when playing, not just on what is being played.

Practice rapid finger movement away from the piano. Fingers should work from the knuckles, without much assistance of muscles in the hand or wrist, and every joint must be complicit; they need to move independently, making sure the first two joints of each finger particularly (nearest the fingertip), are ‘active’. Aim for a very swift finger motion; encourage fingers to make tapping movements or a quick, sharp pulling ‘inwards’ of each finger (towards the palm of the hand). This can be built up, so work in short bursts for a minute or so at a time, returning to dropping arms by your side at the end of each brief session.

As with most techniques, starting slowly often produces the best results. It can be useful to use heavy finger strokes to begin with; playing deeper (in to the key bed), forcefully and with strong fingers (in order to strengthen them). It’s important to pay attention to how every note ends. Think spikey, pithy, sharp, and extremely short. Combine this with a free wrist at all times; letting go of tension in designated places.

Once heavy movements have been grasped and they feel comfortable, lighten the touch, using the fingertip (or top/pad of the finger), and aim to acquire a ‘scratch’ or flicking motion, so every note can remain incredibly short and effectively sounded. Once the finger has ‘flicked’ it will usually draw inwards (as already mentioned), almost into the palm of the hand, but best not to allow it to go too far, as quick finger changes necessitate fingers to resume the usual position promptly. When playing a whole scale or passage using finger staccato, it can be beneficial for the hand to employ a very slight ‘bouncing’ motion, allowing flexibility, but keeping the flow.

Practice passage work in different rhythmical groups; groups of four semi-quavers can be accented slightly on every first beat of the group, to improve co-ordination (if hands are playing together). Practice assorted strong beats (or accents), so all fingers can attain control, making it possible to achieve totally even playing, both rhythmically and tonally. Every time the thumb turns under (or the hand turns over it) in a passage, encourage the wrist to use a small rotational or circular movement, providing a place to release any tension caused by the incessant ‘picking up’ finger motion necessary for finger staccato. Even when using a ‘scratch’ or flicking technique, fingers still need a ‘picking up’ movement, which after a while, becomes tiring. If tension does build, stop immediately, and only practice a few notes or a group of notes at a time. Divide passages into small sections, building up as and when strength is acquired.

If fingers consistently key-bed whilst practising slowly, the less the eventual effort when playing fast, light and crucially, detached.

For close-to-the-keys’ staccato, fingers need hardly leave the keys; they are really playing ‘in position’, and on the surface of the keys. Close-to-the-keys staccato is generally used for certain effects and isn’t as widely employed as finger staccato. Allow fingers to assume their positions over the keys (do this by placing fingers over notes from C-G in the right hand, using the thumb on C, as if playing the first five notes of a C major scale, but with fingers 1-5). Practice each finger separately at first, playing deep into the key bed with each finger, again employing the ‘scratch’ movement (build in a slight break between each note). Using a free wrist will help here. Once the fingers have played heavy, but short notes, lighten the touch considerably, and aim for a very quick movement with each finger making an upward (as opposed to inward) motion. This will encourage speed, rapidly moving onto the next note, taking less time and effort than downward movement. Repeat this with the left hand (also starting in a five-finger position).

Due to the title, it’s easy to misinterpret wrist staccato as merely the wrist in a ‘fixed’ position bobbing up and down at the end of the arm, but if this is the only physical action taken, rigidity and extreme tension may prevail. Unlike finger staccato, wrist staccato requires much more movement than just that of the wrist.

To achieve success, it really must be harnessed to a very flexible, moveable forearm, upper arm and upper torso. As with many other techniques in piano playing, each movement benefits from being cushioned and supported by other parts of the upper body.

Practice away from the piano at first; begin with the hand in its natural position, then move it upwards using the wrist only, then downwards, with your forearm remaining fairly static, the wrist acting rather like a hinge. Gradually build up speed. The faster the speed, so the motion becomes smaller and smaller, and is eventually similar to a ‘vibrato’ action, as if shaking the hand rapidly.

Once the basic movement has been assimilated (by both hands) away from the instrument, experiment by applying it to a few chords (or single notes to start with) on the keyboard. Play hands separately at first and as you play every chord, using a large hinge-like motion with your wrist (almost like a ‘throwing’ action), land on the chord accurately using the tips of the fingers. After the chord has been struck, completely ‘release’ the wrist and arm, letting go of any tension, before the next chord is played. This is tricky to do at speed, so as always, slow practice can help. As speed is built, be sure to release any elbow tension too, as this can feel uncomfortable after a while. To release muscles, swing your arm down by your side; this will serve as a reminder of the feeling of relaxation with no tension.

In order for the arms, elbows and upper torso to remain as free and flexible as possible (so they can support the wrist), it’s important to have an in-built ‘breathing’ space between each chord, therefore, release the upper body after every single one. The wrist and arm will eventually become accustomed to the whole tension/release mechanism. I find it useful to make a rotational movement with the wrist too (when practising slowly) as opposed to only moving it up and down, because the use of arm weight seems to cushion the movement, providing a richer sound and freer action, in preparation for brisk tempi. Some prefer a ‘throwing’ motion, the flexibility stemming from the wrist’s release between each ‘throw’ of the hand.

After a while (and when the feeling of freedom has been honed), move from playing one chord at a time, to several using one wrist motion. An example of wrist staccato, is shown below (which is the first bar of Czerny’s Study No. 40, from The Art of Finger Dexterity Op. 740):

This passage might be practised in the manner suggested below, the rests providing spots to release tension, and build stamina. During the crotchet rests in the right hand, ensure the wrist and whole arm is loose and floppy or free, before continuing, then you will know if you have released tension successfully.

Practice on passages which don’t require a large hand stretch; if octaves or big chords feel strained, choose smaller triads as in the example above. It’s important to feel comfortable, not over-stretched. Also, by giving a slight accent on the first beat of a passage or group (such as the first triad in the chordal group above), it’s possible to facilitate the movement required to play all three chords in the group with ease. The action needed for the strong beat sets the motion rolling, helps to rotate the wrist, and keeps the arm and elbow soft and light too. As the wrist and arm become used to the feeling, so the breaks between each chord can be less and less, although it is always necessary to free the wrist very swiftly between groups of chords, ridding the arm of any tension before continuing.

Speed will come eventually, when the wrist and arm feel able and willing to relax the muscles between passagework, then it will be possible to play longer sections without tiring. Once this aspect has been understood, velocity and virtuosity should miraculously appear.

Fore-arm, whole-arm or elbow staccato are probably used less frequently than the other types examined so far, and are generally in more advanced repertoire. As the titles suggest, considerable body movement is necessary, and in order to really understand and make use of these techniques, the arm-weight concept (i.e. employing weight from the upper torso whilst playing passages via flexibility in the wrist) needs to be secure, and wrist staccato must also be completely integrated. When playing staccato passagework with the whole upper body, we should ideally still be flexible between notes and chords, so when delivering short but hefty chords or octaves, a warm, controlled sound emanates. These staccato techniques are generally used for slightly slower figurations; those with which will be enhanced by a powerful sonority. Practising with added ‘breaks’ in the score, as has been suggested for wrist staccato above, can also be beneficial.

Within this framework, there are countless effects required when playing staccato, depending on the composer, stylistic traits and character of a piece, but these practice ideas will hopefully provide a veritable starting point. If pupils are introduced to basic staccato playing from the outset, they will be able to build and develop this technique alongside their legato playing.

Suggested advanced repertoire featuring staccato:

Piano Sonata Op. 31 No. 3 in E flat major; Scherzo (2nd movement) by Ludwig van Beethoven, Andante & Rondo Capriccioso Op. 14 by Felix Mendelssohn, Puck Op. 71 No. 3 and March of the Dwarfs Op. 54 by Edvard Grieg, Polichinelle Op. 3 No. 4 by Sergei Rachmaninov, Étincelles Op. 36 No. 6 by Moritz Moszkowski, Étude Op. 23 No. 2 by Anton Rubinstein and Gnomenreigen (Dance of the Gnomes) from 2 Konzertetüden, S.145 by Franz Liszt.

You can read the original article here:

Approaches to staccato playing

My Books:

For much more information about practising 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 are featured, with at least two pages of practice tips for every piece.

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

Music & Drama Education Expo 2017

Posted on February 6, 2017 by The Classical Piano and Music Education Blog

For those in the music education industry in the UK, the Music & Drama Education Expo event is a yearly highlight. Organised by Rhinegold, it’s held over two days (9th and 10th February 2017) at Olympia (London), and features a raft of events, including professional development sessions, seminars, practical workshops, performances, show cases, and a huge exhibition of over 130 of the leading brands in the industry.

My publisher EVC Music Publications Ltd will be hosting many events over the two-day period; composer presentations, performances, and book launches, including those by composers Donald Thompson, Heather Hammond, Andrew Higgins, and a book presentation by piano teacher Irina Mints (all held at stand G8). EVC Music director, Elena Cobb, will also be giving a presentation at 10.15am on Thursday 9th February; The Art of Positive Self-Promotion held at the Rhinegold Theatre.

I’ll be giving two presentations at this year’s event on the EVC Music stand (G8) at 12.30pm on both Thursday (9th) and Friday (10th). The presentation will focus on my piano compositions, specifically the four books published by EVC Music. I’ll also be playing some of the pieces and chatting generally about how my works can complement exam syllabuses and specifically music festivals.

If you’re in the vicinity, please do come along and say hello!

My Books:

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

12 Top Recommended Piano Resources for September 2016

Posted on September 19, 2016 by The Classical Piano and Music Education Blog

September brings a bumper crop of new publications and resources which I hope you will find of interest. A selection of beginner’s volumes, great little elementary pieces, anthologies and fascinating piano related books as well as a novel, which should provide reading and playing material for the new school term. Enjoy!

Beginners and Elementary

The Lang Lang Piano Method Volumes 4 & 5

Earlier this year The Lang Lang Piano Method (volumes 1, 2 & 3), written by Chinese star pianist Lang Lang, was launched by Faber, and now volumes four and five have been released. A cartoon Lang Lang appears throughout these books providing encouragement, taking young pianists step by step through every section.These books build on the learning process already established in the first three publications, introducing new keys, rhythms, extending technique through repertoire which includes original pieces and famous tunes. Find out more and purchase here.

Improv Exercises

Created by British composer and publisher Elena Cobb, Improv Exercises For Classically Trained Beginners is a 21st century educational concept based on the belief that, in addition to regular practice, classically orientated piano lessons should also include elements of improvisation. This book deals with blues scale improvisation on the basic twelve-bar blues with only three chords, and it will bring you to a firm understanding of how to structure your approach to improvisation. You will also be able to apply this new skill to another very popular element for playing jazz – accompanying a band without the score. Containing a Twelve-bar blues chart & formula, Rhythm exercises, Noodling exercises, Blues scale exercises on all twelve keys, Basslines and much more. Purchase here.

Piano Piccolo

This is a new collection of 111 original easy piano pieces published by Schott and collated by the excellent German composer, teacher and arranger, Hans-Günter Heumann. Including popular repertoire as well as many less known works, over 60 composers from the Baroque, Classical, Romantic, and Modern periods are featured. This books comes from the Pianissimo series, designed as an introduction to the collection, Für Elise. You can find out much more and purchase here.

Piano Train Trips

Piano Train Trips is the first book written by Spanish pianist, teacher and composer Juan Cabeza. The book includes 18 Études and 9 Exercises with duet accompaniment, downloadable audio recordings of the pieces and play-along accompaniment for the exercises. Each étude covers a particular technique: scales, intervals, arpeggios and chords, which are all presented in an original and attractive way. They are fresh, modern and exciting pattern-based pieces. These pieces can be enjoyed by children or adult students, and are of a late elementary level. The book is available for Europe here and a digital edition can be purchased here. Soon, It will also be released in the US by Piano Safari (pianosafari.com) and a German edition will be published by zauberklavier.de.

Sonorous

New this past month, Sonorous is an original collection of Piano Solos by Colombian pianist and educator Harold Gutiérrez. The books take students from beginner to intermediate level (Book 1), and intermediate to advanced level (Book 2) adopting the 21st century view of music education, in which enjoyment of performance is first and foremost. Each piece presented in this book has been composed as complementary material for young players and their teachers, encouraging students to perform and experience their musical achievements on stage. There are two books in the series so far, and the first is designated ‘for little hands’ with plenty of interesting melodies and technical exercises at the end of the book. You can find out much more, hear some of the pieces, and purchase here.

Safari

A collection of 23 pieces by Irish composer June Armstrong. Intended for elementary level students, June’s music is predominantly educational with emphasis on interpretative qualities, engaging a pupil’s imagination. This is certainly evident in these works, which rely heavily on atmospheric harmonies. Safari charts the course of a day in Africa, starting with African Dawn and ending with Night Sky with Stars. Meet all the animals along the way – gazelles, flamingos, lions, giraffes, hyenas, monkeys, elephants and many others. Pieces often use specific hand positions, suitable for less experienced players. You can hear each piece here, and find out more and purchase here.

Elementary to Advanced

The Faber Music Piano Anthology

Containing 78 piano pieces, this large volume is suitable for those from Grade 2 – 8 (elementary to advanced), and has been designed as a gift book; a luxury hardback edition featuring high-quality premium paper and ‘The Concerto’ linocut cover image by Cyril Edward Power. Published by Faber, it has been compiled by myself and will hopefully interest a variety of levels and abilities. Many pieces are very well-known penned by the great composers, but there is also a cohort of less familiar works (and composers). From late Renaissance music through to mid to late Twentieth century, piano lovers can enjoy reading through (and learning) a much-loved repertoire of core pieces. Out later this month, you can find out more and purchase here.

Intermediate to Advanced

Russian Folk Tunes

Published by Schott and containing 25 traditional tunes, this book is sure to be popular with all those who appreciate and enjoy playing traditional music. A selection of melodies including Russian folk tunes, Russian Gypsy music and Russian Jewish music, as well as folk music from the Ukraine. The pieces have been edited and arranged by British bandoneonist, composer and arranger Julian Rowlands, who performs them on an accompanying CD. There is also a brief history of Russian music as well as notes on the pieces (which are also available in French and German). The arrangements are from approximately Grades 4-8 level. You can find out more and purchase here.

Blues, Boogie and Gospel Collection

A new collection published by Schott, written by British jazz composer and writer Tim Richards. This volume contains 13 original works for piano by Richards and 2 arrangements (a traditional song and another by Jelly Roll Morton). There are copious interpretation, technique, theory and performance notes, accompanying each piece and a helpful CD of all the pieces (played by Tim). Chord symbols are provided to aid improvisation, and in my opinion, the volume complements other books in the series; Improvising Blues Piano, Exploring Latin Piano and Exploring Jazz Piano (all Richards’ publications). For more and to purchase click here.

Books

The Mindful Pianist

Written by British pianist, teacher, writer and composer Mark Tanner and published by Faber in conjunction with EPTA (European Piano Teachers Association), this book is sure to be a winner for all pianists, presenting a fresh perspective on playing and performing. Applying the concept of mindfulness to the piano, this text explores the crucial connection between mind and body: how an alert, focussed mind fosters playing which is more compelling, refined and ultimately more rewarding. It also tackles the issues encountered by pianists when practising, performing, improvising and preparing for an exam too. Drawing on the expert advice of 25 leading pianists and educationalists (I’m delighted to be amongst those mentioned!), this unique book offers a wealth of exercises and musical examples to help every player succeed in becoming a Mindful Pianist. Out later this month, you can pre-order here.

The Steinway That Wouldn’t Budge

A delightful little book written by British piano tuner Peter Tryon (cousin of concert pianist Valerie Tryon) and published by Austin Macauley. This volume is essentially an autobiographical tale of a life spent tuning the pianos of those in East Anglia (in rural UK). It’s full of anecdotal tales from boyhood piano lessons and moving pianos in all kinds of situations, to ghostly tunings (my favourite stories!), there is much to enjoy in this publication. You can purchase it for kindle and as a hard copy, on Amazon here.

Moscow Nights

A thick non-fiction volume written by British historian and biographer Nigel Cliff, and published by Harper Collins, this book tells the story of Van Cliburn, who, as a young pianist from Texas in 1958, travelled to Moscow to compete in the First International Tchaikovsky Competition. An unknown pianist, Van Cliburn was not the favourite to win, indeed a Russian had already been selected, but his playing captivated the nation. The novel brings together the drama and tension of the Cold War era, with a gifted musician whose music would temporarily bridge the divide between two dangerously hostile powers. You can find out more and purchase here.

Do Piano Exams Matter?

Posted on September 12, 2016 by The Classical Piano and Music Education Blog

On returning from my holiday, I enjoyed reading Rosie Millard’s recent interesting and thought-provoking article in The Telegraph deliberating over the benefits of music exams (you can read it here). She labels herself a ‘pushy’ parent, although I don’t find her approach particularly ‘pushy’. I think her concerns are fairly natural amongst parents who want their children to succeed; indeed this approach could be applied to ballet, chess, maths and a whole host of other activities so often undertaken by children.

Many feel music exams are irrelevant, outdated and have little to do with being able to play an instrument. This view is surprisingly prevalent in some unsuspecting circles; there are piano teachers who don’t enter students for exams, believing them to be totally unnecessary. Certainly, exams are not for everyone and, as Rosie points out, they definitely aren’t for the faint hearted! Hours of work, dedication, motivation, and perseverance are necessary – and that’s just to obtain a pass! Some talent is also required beyond a certain level too.

On a personal note, I loved taking piano exams; they gave me a sense of achievement and a feeling of advancement in my playing. I took Grades 2, 5, & 8 (if my memory serves correctly!), but I found them fun. And those I teach also enjoy working towards them (I never push students to take exams).

One of the main issues amongst those who don’t favour an exam system, seems to be the limitations of the syllabus (usually irrespective of the board taken; whether ABRSM, Trinity College, London College of Music etc.); three pieces, a group of scales, sight-reading and aural must generally be negotiated and this can take time to assimilate (sometimes it can take years, depending on the student). Many students (and their teachers) would rather work at a larger group of pieces, learn a more varied repertoire, skip scales (or exercises) and never really have to be put through the trauma associated with sight-reading (or aural). I can certainly empathise with this view, especially for those who want to play for pleasure.

Playing the piano should be for enjoyment, shouldn’t it? Yes, it should. And for some this means a challenge. For those who want to improve their playing, with the intention of reaching new levels of technique and musicianship, and receive a measured view of their progress, an exam may be a great option.

Yes, the syllabus could be viewed as narrow, but then it isn’t meant to be the only course of study; the concept surrounding piano exams is to work at the exam syllabus in conjunction with a whole host of other piano material, forming a broader musical base. Moving from one piano exam to the next (without learning anything else in-between) is not a sound method of progress, as most already know.

The thing about dedicating much time and effort to just a few demanding pieces is that whilst this may seem dull, perfunctory and limited, after working at them correctly (this is vital, so please find a good teacher who can teach the necessary technique required to play everything demanded in the syllabus), students should have acquired new technical (and musical) skills. These skills can then be applied to a multitude of piano pieces, thus encouraging an increasingly higher standard of playing. For many, the whole point of an exam is to overcome or surmount new difficulties.

When there is a deadline, an impending performance and a marking system for that performance, most pupils are motivated to work. They want to go beyond that particular grade or level. That’s not to say this level can’t be achieved by not taking an exam, but they do seem to afford the fundamental carrot. And a good mark provides a very satisfying sense of achievement, as well as the motivation to continue playing.

I’ve been working with several piano professors and university faculty members over the past few months (worldwide), frequently enquiring about entrance audition standards and procedures for their respective university or conservatoire, as well as the selection process for their piano majors (a subject which fascinates me). On asking which group of students consistently offers the highest level of playing at audition, the answer has (more often than not) been those pianists who have adhered to an examination system, particularly the British system (i.e. ABRSM, Trinity College London, or London College of Music exams, which can all be undertaken worldwide).

The main reason for this appears to be that these students have frequently taken diplomas (which can serve as excellent preparation for a prospective conservatoire student), are used to presenting recital programmes, and have a more reliable technical grasp due to regular technical exercise practice (of which scales and arpeggios play an important part). These young piano majors intend to be professionals, and should therefore not be compared to those who play for pleasure, however, the ideology is exactly the same; formal exams can foster a high standard of playing.

No exam system is (or will ever be) perfect, but in my opinion, if you or your child wishes to improve, and learn to develop the required focus, discipline and performing skills needed to do well, working at a piano exam or diploma, as part of a rounded musical education, might be an excellent way to proceed.

For more information about the British Music Examination Boards, please visit the links below:

ABRSM

Trinity College London

London College of Music

Victoria College

National College of Music & Arts

RockSchool

Image link

Piano Magic

Posted on May 31, 2016 by The Classical Piano and Music Education Blog

Last Saturday my latest piano compositions were published (by EVC Music Publications Ltd.). Piano Magic is a set of 10 pieces for the elementary pianist (around Grade 1 or 2 level of the ABRSM music exams), and they evoke a colourful fantasy world of witches, ghosts, wizards and fairies. Designed for the young pianist (although older pianists may enjoy them too!), these pieces hopefully offer a chance to get to grips with various technical and musical challenges, particularly staccato, syncopation, the sustaining pedal, quick coordination between hands and complete use of the whole keyboard.

The pieces are 16 bars in length and are all quite different in character. You can hear them by clicking on the links below and you can purchase the book here.

So You Want To Play The Piano? The winners are….

Posted on April 17, 2016 by The Classical Piano and Music Education Blog

Many thanks to all those who took part in my weekend competition.

This week’s winners are:

Gloria Pevy and Mary Loy Pa.

Congratulations! Please send your addresses via my contact page on this blog.

There are more competitions and giveaways coming very soon. If you would like to know more about my book So You Want To Play The Piano? you can do so here, and if you would like to purchase a copy, you can do so on Amazon here and from the Alfred website here.

Weekend Competition: So You Want To Play The Piano?

Posted on April 15, 2016 by The Classical Piano and Music Education Blog

It’s time for the Weekend Competition, and this week I am offering my own book, So You Want To Play The Piano? as the prize. I haven’t offered this publication as a competition prize so far on this blog, and some readers have been kindly asking where it can be purchased.

I’ve made a short video which you can watch below, describing the book and why it might be a useful addition to any prospective piano students library. It may also be of interest to parents, those who already play or are self-taught, and even a helpful resource for teachers too.

You can find out more about the book here, and purchase it from Alfred Music’s website here or from Amazon here. However, I have TWO copies to give away this weekend, so to be in with a chance of winning, just leave your comment in the comment box at the end of this post and I will pick the two winners on Sunday evening (British time). Good luck!

So You Want To Play The Piano? – The Reviews

‘This is an excellent book, a first-class introduction and guide to those wishing to learn the piano, full of sensible and practical advice and very well written by an experienced pianist and teacher. Nor is it confined to young people and children – the adult beginner is also considered. Among the subjects it covers are: how to find the perfect instrument; what to look for in a teacher; supporting a child who is learning; preparing for exams; and much more. It is completely up to date and is enthusiastically recommended.’

Robert Matthew-Walker (Musical Opinion)

‘This is an excellent book for anyone who is interested in piano lessons for themselves or a family member. It is extremely comprehensive and includes everything you could possibly want to know about piano lessons. I don’t think I’ve ever seen a book quite like this, and anyone considering piano lessons should use this book as a resource.’

Susan Paradis – US Blogger, piano teacher and educational expert. Read the whole review here.

‘The book is geared towards parents and/or students that may be new to the piano lesson experience. But it includes much more than I expected from a “parent or student guide”. For this reason, I would recommend that teachers even have a copy of it in their studio if you have an area for parents to sit while their child is having a lesson.’

Jennifer Foxx – US Blogger, piano teacher and educational expert. You can read the whole review here.

‘My first thought as I read this was ‘why hasn’t anyone written this before?’ It’s full of great advice for anyone wanting to take up the piano, anyone with children about to start to play, or even piano teachers at the start of their career. How on earth did the aspiring pianist manage without a clear volume on how to find the perfect instrument, what to look for in a teacher, things to bear in mind beyond playing the right notes, and how to support a child who is learning? Melanie Spanswick’s book delivers all this and more.’

Fiona Lau (Music Teacher Magazine)

‘This book is un-putdownable because Melanie says everything I have been wanting to say for a long time. I have come across lots of talented young pianists, and I often say to myself ‘if he/she had been taught properly at the beginning, he/she would be a much higher level by now.’ Melanie’s friendly and approachable but ‘no messing about’ direct mannerism is perfect for all piano enthusiasts. This is the kind of book we all need by the side of the piano! It has all kinds of information we need.’

Noriko Ogawa (Japanese International Concert Pianist)

Recommended Piano Resources for March 2016

Posted on March 31, 2016 by The Classical Piano and Music Education Blog

As March draws to a close, here’s a round-up of useful piano resources. Hopefully there’s something for everyone including a new piano method, a sight-reading collection, piano pieces, as well as a tempting piano course and an inaugural piano festival. Enjoy!

Beginner/Elementary

Lang Lang Piano Method

New to the market this month, the Lang Lang Piano Method (published by Faber Music), consists of five volumes and is designed to take youngsters from the very beginning to around Grade 1 level (ABRSM exams). The brightly coloured publications feature a cartoon character of the Chinese concert pianist Lang Lang, and take beginners (the method is aimed at those between the ages of 5 – 10 years) on a journey of piano discovery. Musicianship is developed through theory quizzes and games, as well as the chance to hear Lang Lang playing a range of piano repertoire. The books are accompanied by online audio tracks, including performances of the concert pieces by the popular piano star himself. Find out more here and purchase copies here.

Lazy River Blues

This new piece by British composer Olly Wedgwood (published by EVC Music Publications Ltd.) is a classic 12-bar slow blues perfect for budding jazzers at the late elementary/early intermediate level, or approximately grade 2 – 3 standard. The right hand opens the piece with a chromatic melody line, which is then followed by a ‘response’ in the left hand. This is similar to the classic blues ‘call and response’ pattern, but spread out over four bars. After the first 12 bars, Lazy River Blues moves into a written improvisation accompanied by light staccato ‘stop’ chords in the left hand. This variation rises to a crescendo and then it’s D.C. al Coda to end. A backing track completes the jazz sound. Listen and purchase here.

Funkey!

Banishing onerous sight-reading tests will be simple courtesy of this series! Written by British teacher Lindsey Berwin and published by Kevin Mayhew, the set consists of five books, and level 1 begins at approximately Grade 1 ABRSM standard. Each short piece is designed to develop a students awareness of key. A variety of styles have been implemented including rock, swing and latin, and the books have a useful accompanying CD. These publications will ideally help pupils to incorporate regular practice in this area, improving rhythmic awareness and crucially, the ability to play fluently. I encourage my students to obtain many different sight-reading books within each exam grade (irrespective of which they plan to prepare for), therefore a series such as this will be most beneficial. Get your copies here.

Intermediate

Spinning Sky

Spinning Sky for piano, written by Russian composer Aleksandra Vilcinska (featured on the cover) consists of a tuneful, wistful melody evoking hopes, dreams and happiness. Published just last month by EVC Music Publications Ltd. Spinning Sky is a beautifully balanced piece to add to a teenage student’s repertoire, particularly those who enjoy the ‘new age’ genre. Suitable for students at Intermediate level (or Grades 5-6 ABRSM standard). Listen to the piece and get your copy here.

8 Children’s Pieces for Piano

Celebrated British composer Malcolm Arnold‘s highly evocative and colourful 8 Children’s Pieces for Piano have been republished in a new edition by Queen’s Temple Publications. They range in difficulty from about Grades 2 – 6, and represent a wonderful set of imaginative and fun pieces to learn, play and perform. Melodious, often dramatic, and with interesting and occasionally unexpected harmonies, they are audience and young pianist friendly. Titles include Dancing Tune, Two Sad Hands, Across the Plains and The Buccaneer. You can find out more and purchase your copy here.

Intermediate/Advanced

Piano Kaleidoscope

This new volume, published by German publisher, Barenreiter, is a special edition; a mix of classics at an affordable price, featuring a cross-section of Bärenreiter’s extensive piano catalogue. The pieces and movements range from the 18th century through to the first decades of the 20th century. Fifteen composers are represented in this edition, from J S Bach and Schubert through to Debussy, Satie and Smetana. The pieces also vary in national style and are fairly wide-ranging in terms of technical difficulty, although many are intermediate (grades 5 – 6) level. You can find out more and order your copy here.

Online

TomBooks

TomBooks is a new type of e-book combining text, images and audio content in an innovative manner. The goal of these books is to ‘immerse the reader in a world of culture, music and art through an interactive, multi-sensory approach’. TomBooks’ first editions are dedicated to music and painting: biographies of composers, interactive music scores, galleries and games linked to painting, and books dedicated to works of art. The majority of the books involve a dedicated network allowing readers to communicate with each other by means of a platform created for each book. The piano music ranges from pop and musical theatre, to classical and film music, and various accompaniments are also available. You can explore the piano music here.

Courses

The Miami International Piano Festival Academy

This course offers an intensive summer programme designed to explore the Art of Piano Playing. Distinguished teacher Giselle Brodsky is artistic director of this three week session, which takes place from July 3rd – 24th 2016 in Miami. The Academy provides pianists with the opportunity to take part in intensive private and open lessons with international master artists and teachers. There will be opportunities to participate in technique clinics, enjoy discussions with the faculty, and explore the world of different composers and specific repertoire, as well as learn to improvise, strengthening skills as performers. You can find out much more here.

Festivals

London Piano Festival

I enjoy spotlighting new piano festivals and this one looks most innovative. The London Piano Festival takes place at King’s Place in London in October 2016, and has been created by pianists Katya Apekisheva and Charles Owen. Their shared love of the instrument has initiated this weekend especially for the city’s many piano lovers. The music will range from Bach, Busoni and Rachmaninoff through to Messiaen and Piazzolla. A particular highlight will be the world premiere of a new two-piano work by the American composer Nico Muhly. performers include Alfred Brendel, Kathryn Stott, Noriko Ogawa, Julian Joseph, Stephen Kovacevich as well as Katya and Charles. You can find out much more here.

Recommended Piano Resources for February 2016

Posted on February 28, 2016 by The Classical Piano and Music Education Blog

It has certainly been a busy few days for me, and visiting the Music Education Expo event (held at Olympia in London) last week was fascinating. I discovered a whole raft of new piano resources and materials, and met various composers, music educators and publishers. I will endeavour to include as many discoveries as possible in my monthly list over the coming months! Here is my round-up of practice ideas, sheet music, online resources and piano courses. I hope you enjoy reading.

Beginner/Elementary

Practice Starter Cards

Paul Harris‘ Simultaneous Learning concept has proved highly successful, and the Practice Starter Cards, published by Faber Music, provide a fun and imaginative extension to this approach. Launched at the Music Education Expo event in London last week, they are great way to begin piano lessons (or any instrumental or vocal lesson). Simply select a card, and follow the instructions on the back, to create a variety of lesson activities. The cards focus on different elements, such as scales, aural, improvisation, rhythm and sight-reading, and each suggestion encourages students to think for themselves, making connections between all aspects of musical learning, as well as proffering an entertaining and creative addition to lessons. All levels could benefit, but especially elementary and intermediate. Find out more and purchase here.

A Pirate’s Escape

Piano Safari offer a very popular piano method and a variety of materials to supplement this, with many useful primary pieces which are excellent for beginners and elementary players. A Pirates Escape, written by Christopher and Katherine Fisher, is essentially a duet for teacher and pupil, and will appeal to young students. Considered a late elementary piece in the key of D minor, it features a hand over hand arpeggio, and a rather dramatic coda with harmonic fifths. You can listen to it and purchase here.

The Graded Piano Player

This new series seeks to offer pianists a wide range of popular tunes, written as effective arrangements within a graded framework, which is similar to that of the major exam boards. Published by Faber Music, this series extends to three progressive volumes, from approximately Grades 1 – 5. A collection of well-known tunes and songs arranged by Alan Bullard, Ned Bennett and others, the selection includes favourites by Disney, as well as TV, film, pop, folk, jazz and musical theatre numbers. Great for use between exams, or independent learning, as well as sight-reading for more advanced players. Children, teenagers, and adults will all find something to enjoy here, and these books will give teachers the opportunity to offer their pupils an alternative to classical pieces. You can purchase here.

Intermediate

Frost

This piece, written by Jenni Pinnock and published in January 2016, effectively depicts the cold, biting sentiment. Serene and striking, Frost was inspired by the beautiful carpet of ice crystals left across the landscape. The composer writes, ‘although it may be a danger, it makes the world sparkle in a magical way, leaving glinting frosty spiders webs and icy plants for us to admire’. I enjoyed playing this piece through; it calls for atmospheric, evocative colours and would be perfect for those wishing to develop a larger tonal palette. You can listen to the piece and purchase a copy here.

Advanced

Peacock Grande Valse for Piano

This advanced piano piece, written by British composer and publisher Elena Cobb, was published just last week, and consists of a tuneful, catchy melody. Reminiscent of the Romantic period, and akin to a Salon style work, it contains some technical challenges for the pianist. Two Peacocks simultaneously ‘chat’, hence the interweaving of melodic lines. With double notes, octaves and rapid passagework in the right hand, and lots of movement around the keyboard, this piece will be enjoyed by many. The technical twists and turns all lie fairly comfortably under the hand. Listen and get your copy here.

London-Paris

Russian pianist, teacher and composer, GéNIA, has written a collection of compositions which are a fusion of Classical crossover and Minimalism. The pieces have recently been published as sheet music, and she performs them frequently around the country; they are also played regularly on Classic FM and in Cafe Nero. London-Paris is my favourite, and it was inspired by frequent trips taken on the Euro-Star to Paris, where the composer often works. You can listen to this piece and purchase GéNIA’s sheet music here.

Online

Online Piano Academy

Pianist, teacher and writer, Graham Fitch is introducing a new Online Piano Academy. It is designed to be the complete resource for anyone learning to play the piano, irrespective of their level. Building on Graham’s e-book series and popular blog, Practising the Piano, the Academy will be a comprehensive library of lessons, masterclasses and resources combined with insights from other leading experts. The Academy will be funded by an Indiegogo crowdfunding campaign, and readers are invited to support and help shape the online resource. You can find out more here, and support the project here.

Musica Piano

This is a new iPad app for classical music in scores, audio and video. Musica Piano offers free online access to copious classical music scores by Könemann Music Budapest and other publishers. This app comes with a whole collection of recordings by renowned artists in audio and in video. The recordings are synchronized with the scores, and are called Syntunes. The Könemann Music Budapest scores have been available in print since the 90s and have been academically edited mostly in Urtext quality. The complete piano works of Mozart, Beethoven, Chopin, Bach, Haydn, Brahms, Skryabin, and many more, are at your disposal wherever you are, provided you are connected to the Internet! You can register and find out more here.

Hoffmann Academy

The Hoffman Academy is an online resource for parents and students, enabling them to access piano lessons from their homes. These lessons are 5 -10 minutes, created by Joseph Hoffman and are free of charge. There are extra activity pages, sheet music, and mp3 files, which can be purchased for download alongside the lessons. Hoffman’s lessons are inspired by Suzuki and Kodaly methods, as well as from his own child development research. In addition, piano teachers and educators also favour using the Hoffman Academy materials in their own private practices. You can find out much more here.

Courses

The Dublin International Piano Festival and Summer Academy

This festival is gaining popularity and is considered the leading programme of its kind in Ireland, attracting students and audiences from all over the world to Dublin for a nine days of lessons, masterclasses and performances. The programme offers an intensive educational experience for advanced piano students as well as an exciting concert series open to the public. The Summer Academy gives young pianists a unique opportunity to explore the possibilities of a career as a pianist, to work with the faculty, and to excel in piano performance and technique, while enjoying everything Dublin city has to offer. Eighteen participants will enjoy daily practice sessions, lessons and masterclasses, seminars on topics such as performance psychology from experts in the field. The dates are 23rd – 31st July, and you can find out much more here.

Top Recommended Piano Resources for January 2016

Posted on January 30, 2016 by The Classical Piano and Music Education Blog

As we wave goodbye to January (how is it possible already!?), my blog celebrates its fourth Birthday! Mulling over the past four years, I can’t help observing just how much my life has changed; this website has given me the opportunity to meet many interesting pianists, teachers, composers, publishers, and writers. It has expanded and shaped my life in ways I could have never imagined, for which I’m extremely grateful.

January brings a crop of varied piano resources from sheet music and books, to online products and courses. I hope there will be something to interest everyone.

Beginners and Elementary:

Music Me Piano Practice Time Notebook

These notebooks have been designed by Roberta Wolff and are a fun and useful addition to piano lessons; they are suitable for young learners everywhere. Music Me Piano Practice Time notebook features an all-in-one style practice page with keyboards, manuscript, cycle of fifths and up to six different practice activities per week for your student to explore. The pages are interactive, involving your student as well as supporting their practice. For a free trial pack and to place your order, click here.

Piano for Fun Series

A new series, published by Elena Cobb (EVC Music publications), which features four books written by four composers; Heather Hammond, Olly Wedgwood, Alison Mathews, and myself. Heather Hammond is a renowned educational composer, and has already published several piano books with EVC Music publications. Piano Olé!, brings a Spanish flavour to ten bright, tuneful compositions, which lie comfortably under the hands and are intended for early intermediate players. Olly Wedgwood (son of renowned educational composer Pamela Wedgwood), has written Piano Plan B! This volume of ten pieces and certainly lives up to its title, exuding joy, fun and plenty of jazzy tunes, which are intended for late beginners (some pieces are published, but the whole volume will be available later this week). Composer and pianist Alison Mathews’ Piano Planets, feature a collection of ten pieces, which are current and vibrant, and they are written for late beginners. My volume, Piano Waves, which will be available very soon, consists of six Minimalist style melodious pieces, inspired by my many piano adventures at sea, and suitable for intermediate players. There is currently a 50% discount sale on all music published by EVC Music publications, just quote this code when purchasing: BDAYGIRL!

You can hear some of the pieces from Piano For Fun Series and meet the composers at the Music Expo Educational Event in London next month, where we will be presenting an informal showcase. You can find out much more about the music, here.

Composer’s Choice: Glenda Austin

An interesting, innovative series published by the Willis Company, featuring various Contemporary composers. This book introduces eight pieces by American composer, arranger and pianist, Glenda Austin. The collection includes six of Glenda’s favourite pieces through the years, as well as two brand new ones composed especially for this series. Titles: Betcha-Can Boogie • Jivin’ Around • The Plucky Penguin • Rolling Clouds • Shadow Tag • Southpaw Swing • Sunset Over the Sea • Tarantella (Spider at Midnight). The volume contains helpful performance notes too, and I enjoyed reading through each piece, which will introduce students to a variety of modern, Contemporary styles. Educational music at its best! Purchase your copy here.

Intermediate:

The Celtic Series

The Celtic Series, published by EVC Music publications, consists of three new books; A Borders Suite by Donald Thomson, Piano Celtico by Barbara Arens, and Irish Streams by Jenny Walker. The series is intended for those of intermediate level (Grades 4 – 6), and has recently been introduced to the public via various book launches in Edinburgh (Scotland), Grantham (England), and Leipzig (Germany). Each books includes original works and arrangements of traditional Celtic and Gaelic tunes, which are aimed at the educational market, as well as for those who love and appreciate traditional folk-style music. It’s a unique series of books (complete with EVC’s beautiful, stylish covers), and will be enjoyed by young and older learners. You can find out much more here and receive 50% discount by quoting this code: BDAYGIRL!

5 Pieces for 5 Left Hands at One Piano

British composer, Mike Cornick‘s latest addition to this popular series for numerous players at one piano, published by Universal Edition, is for 5 left hands. This is, by all accounts, a fairly unusual combination! However, I’ve used this series on many occasions when running my sight-reading courses and students really do enjoy playing these volumes. Entertaining for the audience and fun to perform, each piece encourages pianists to listen, interact with each other, and above all, become accustomed to ensemble playing. A second copy of the score is included for easy reading in performance and free downloads of the single parts are available to make practising at home possible. Intended for those between Grades 2 – 5 level (early Intermediate), you can find out lots more here.

Advanced:

Virtuoso Transcriptions Piano Transcription Series

Published by Schott Music, this is an excellent collection of favourite works, all arranged for piano, and, as the title suggests, in a virtuoso manner. For those who enjoy a good romp around the keyboard, there are many works from which to choose, from musicologically significant transcriptions to interesting modern arrangements. I particularly like Paganini Jazz and Alla Turka Jazz, both written by Fazil Say (you can hear the former played by the composer/arranger here), but there are also works arranged and transcribed by Franz Liszt, Glenn Gould, Olli Mustonen, Marc-André Hamelin, Percy Grainger, amongst others. There is definitely something for everyone in this series which celebrates the piano in all its glory! You can find out much more here.

Books:

So You Want To Learn To Improvise? and So You Want To Play The Piano?

This series has been written by Andrew Higgins and myself, and published by Alfred Music. Andrew’s book focuses on developing improvisation technique; there are plenty of written instructions and explanations throughout, to guide students. Much information is proffered, and those who digest this book thoroughly will surely be on the way to honing excellent improvisational skills. My book is intended for prospective students and beginners everywhere; those who want to know the best ways to begin learning to play. It may also be useful for anyone considering becoming a piano teacher. There is a myriad of information; from which instrument, teacher, and piano method is suitable, to piano technique, piano exams and information on piano music and composers. So You Want To Learn To Improvise? can be purchased here, and So You Want To Play The Piano?, here.

Online:

Easy Ear Training

Easy Ear Training is a music education technology company, who are developing digital products like mobile apps and audio-enhanced eBooks to make learning the essential listening skills of music easy, fun and effective. Easy Ear Training offers many different apps for musicians and aspiring musicians of all different levels and abilities, encouraging them to develop an increasingly sophisticated ear. You can browse their courses, and digital products here.

Piano Courses:

Piano Week

This course is held at Moreton Hall School in Shropshire, UK and is organised by Artistic Director Samantha Ward. Piano Week is an international piano festival and Summer school for pianists of all ages and abilities. Consisting of many recitals, master classes, talks, discussions, one-to-one lessons, and performance opportunities for all participants. Course dates are 17th – 24th July: Piano Week 1, and 24th – 31st July: Piano Week 2. Stephen Kovacevich will be giving the celebrity recital, and there is a host of pianists and teachers providing coaching (the faculty changes slightly over the two-week course). For more details visit the website, here.

A Beethoven Pilgrimage: Master Course with Julian Jacobson

Pianist, composer and Royal College of Music professor, Julian Jacobson, is taking a Summer course in Austria this year. The substantial new summer course and festival is devoted entirely to Beethoven, and is dedicated to the solo piano sonatas. Course dates are August 5th to August 22nd (2016), eighteen full days, with excellent facilities, copious recitals by participants and artists in residence, open sessions and excursions. There are also various awards for students including further concert opportunities. It’s taking place in the most glorious countryside in the Salzkammergut region of Austria. Each full participant brings three complete sonatas and receives six lessons; part courses are also possible. This will no doubt be a wonderful experience, and to learn more click here.