How loose are you? Piano teaching in Asia

Returning from another enjoyable and successful book tour, I find myself reflecting on a perennial piano teaching issue; one which seems to occur all over the world.

This tour was the busiest yet with visits to four countries and multiple cities; Singapore, Malaysia (Melaka and Kuala Lumpur), Indonesia (Jakarta and Surabaya), and Hong Kong.  On this trip I was fortunate to have company: I gave teaching workshops alongside colleagues Samantha Ward, who is artistic director of PIANO WEEK and also a fellow Schott Music author (she was presenting Piano Junior, the new Schott beginner’s method), and Dr. Wolf-Dieter Seiffert, president of G. Henle Verlag (who spoke about Urtext editions), as part of the Arrow Vision/Schott Music/G. Henle Verlag tour, which formed the middle segment of my trip.

Whilst our workshops were open to students, teachers and parents, the majority of the audience consisted of piano teachers. It’s a real pleasure connecting with teachers around the world, sharing a few (hopefully) useful ideas, as well as highlighting the benefits of using my piano course, Play it again: PIANO. Several teachers had previously attended my workshops last year, and it was lovely to see them again. I also appreciated their feedback regarding Play it again, and it was wonderful to hear how much their students have enjoyed using the books.

Teachers are generally very receptive to this two-book course (pictured above), which, as readers of this blog will know, contains an anthology of 49 piano pieces progressing from Grade 1 – 8 level, with copious practice suggestions for every piece. I was delighted to be able to talk about Book 3 for the first time too. This new addition will focus on works of approximately Grade 8 level up to the DipABRSM diploma, and it was written due to vociferous demand from teachers! Many thanks to all who have been in contact over the past year.

At the Encore Music Centre in Melaka, Malaysia, giving a two-day workshop for piano teachers

Play it again: PIANO Book 3 will be available at the beginning of next year (2019), and it will follow the same format as Book 1 and 2, featuring a select group of pieces drawn from mostly standard repertoire with plenty of guided practice tips and advice. The practice ideas, which run throughout the books, are certainly not designed to replace teachers; piano teachers are irreplaceable. However, in my experience, students tend to ‘forget’ much of the advice we offer from week to week, therefore my suggestions, which primarily focus on breaking pieces down to enable swift, successful learning, are intended to serve as reminders and ‘extra’ help between lessons.

In Singapore and Hong Kong I gave private lessons as well as workshops and master classes. The level of playing was consistently high; many of the students were teachers, and they were nearly all advanced diploma level. This isn’t unexpected, but what I often find surprising is the amount of time I spend on teaching physical flexibility.

Physical movement at the piano is, for me, probably the most crucial factor when playing the piano, because without a flexible, relaxed technique, playing accurately and with a rich, full sound are both challenging. But, perhaps more importantly, a tight, tense technique also tends to make playing a very uncomfortable experience for the pianist.

I spend a large percentage of lesson time working with students to sort tension issues. I always pose the question: “how loose are you?” or “how loose do you feel?” as this is often the easiest way to help students understand the desired ‘feeling’ necessary in several parts of their upper torso. It’s interesting to note that tension can occur at any level or stage of piano playing, and it’s this that fascinates me. The more advanced the student, the more demanding my job! Although it isn’t a ‘job’, but rather a pleasure and privilege to help.  Advanced students might have habits which are inextricably ingrained. The fun part is being able to unravel their issues, and replace the old habits with new, healthier ones.

In Surabaya, Indonesia, with piano teachers at my workshop

Repetitive strain injury and tendonitis are just two of the conditions resulting from piano playing laced with tension. Over the past few years I have worked with students who had developed quite serious pain issues, and we carefully reconstructed their technique over a period of around twelve months (it can take less time with a very dedicated pupil). Boring and painstaking work? Actually, I find it very rewarding. Witnessing a student’s progression from pain and dejection  to mastery and confidence is very gratifying.

Working with a student at a master class in Hong Kong

There are a profusion of effective teaching methods which can be employed to reverse tension. I use one which is easy to understand, and one which emphasizes relaxation (or a ‘loose’ feeling). The tension/release concept is relatively simple to comprehend, and if it is implemented with a series of loose wrist and hand movements, which are all exaggerated to start with, improvement can be almost instantaneous. Although it can take a while for such movements to become an instinctive, natural habit.

I aim to continue my work with pupils who require such teaching, and my trip served as a vital reminder of its value. I examine the basics of flexibility in the opening section of Play it again: PIANO, Book 1, 2 and 3, and you can also watch my videos online for more ideas (see below):

 

You can watch all four videos in this series by clicking here. Huge thanks to my publisher Schott Music for their fantastic worldwide support. I look forward to next year’s Far Eastern adventures.


My Publications:

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

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


 

A Far Eastern Book Tour

Book tours are fun. They could be referred to as the ‘pinnacle’ of the whole writing journey; by this time the books are safely published, usually after countless rewrites and corrections, and the writer is free to speak about the process through those rose-tinted glasses. This week I leave for my third book tour over the past year; retracing my steps in the Far East as well as visiting pastures new. I’ll be touring for my publisher, Schott Music, with my piano course Play it again: PIANO Book 1 & 2.

The tour will take me to Singapore, Malaysia, Indonesia and Hong Kong. In each place, I will be giving a series of workshops and master classes (and also private lessons in Singapore and Hong Kong). I’m extremely excited about this prospect; travelling has always been a way of life for me, and yet I still crave the buzz of excitement it offers, irrespective of the destination.

The tour begins in Singapore with a piano teacher’s workshop (details above), focusing on many elements mentioned in my books. The Kawai Music School in Katong has already been using Play it again: PIANO with many of their students. In my workshops, I enjoy involving teachers and students as much as possible with plenty of hands on participation and discussion. These workshops predominantly highlight various aspects of piano technique, an important element for teachers in particular, as without such knowledge, helping students achieve their potential is challenging.

After a few days, Malaysia beckons, and I’ll be moving to Malacca, which is to the south of Kuala Lumpur. Here, there will be a two-day workshop (including seven different presentations) and a student master class, all purely for piano teachers. Encore Music Centre is a popular school in this region, and the teachers have also been using Play it again: PIANO as their course of choice over the past few months. I can’t wait to see how they are getting on with it, and I’ll be hopefully able to answer questions and make suggestions regarding the content.

Kuala Lumpur is a buzzing metropolis, and is where I join Dr. Sigrun Jantzen, from Henle Verlag, and fellow Schott author, Samantha Ward. British pianist and artistic director of PIANO WEEK Samantha Ward, has her own series published by Schott (Relax with), but on this occasion, she will be presenting Piano Junior, the new beginner’s method written by German composer and writer Hans-Günter Heumann. Dr. Jantzen will present Henle’s extensive range of publications.

Together, we will embark on three large piano teacher seminars in three different cities. After Kuala Lumpur (see flyer above for details of the Kuala Lumpur seminars), we fly to Jakarta (Indonesia), and then on to Surabaya, to the East of Jakarta and the capital of East Java, (see image to the right for more details).

Finally, I fly to Hong Kong on my own for a special series of Play it again: PIANO workshops, master class and private lessons for piano teachers and students (see below for details). Tom Lee is one of the leading music retailers in Hong Kong, and as an adjudicator and examiner, I have worked many times at their various centres which are peppered across Hong Kong. Our venue is at the Megabox in Kowloon Bay; a large concert hall situated on the tenth floor.

Most of all, I’m looking forward to meeting new friends, teachers, and colleagues, and experiencing many aspects of music and music education in this region.  If you live in this part of the world and are relatively near any of the venues, please do come along; it would be lovely to meet you.

Play it again: PIANO Book 1 & 2 will be on sale throughout all the classes and workshops, but you can find out more about them, watch my videos, and purchase them by clicking, here. They can also be purchased on Amazon.


My Publications:

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

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


 

A Piano Day at Ackerman Music

For those based in the South East of England, I will be presenting a workshop at Ackerman’s music shop in Hove, East Sussex, on Thursday 16th August (later this week). This workshop, which is primarily for piano teachers, spotlights several Schott publications: Play it again: PIANO and Piano Junior, the new piano tutor method written by Hans-Günter Heumann.

My workshop will focus on helping students develop flexibility (as featured in my piano course, Play it again: PIANO), and will be particularly useful for alleviating tension at the piano. There will be plenty of demonstration and an opportunity for attendees to try out various exercises. I will be joined by pianist, teacher and author, Samantha Ward, who will present Piano Junior, Schott’s new interactive beginners method. And there will also be a chance to explore Casio’s Hybrid instruments. Lunch and refreshments are provided. The event begins at 11.00am and will finish at 4.00pm; it will be held at Ackerman’s Music Shop, 163 Portland Road, Hove, East Sussx, BN3 5QR. You can find out more and get tickets by clicking here. I look forward to meeting you!


My Publications:

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

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


 

Playing to Your Strengths

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


My Publications:

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

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


 

Attending a Piano Pedagogy Conference

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

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

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

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

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

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

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

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

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

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

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

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


My publications:

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

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


 

Play it again: PIANO Book 2

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

Who is this course for?

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

What you can expect to find in the books

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

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

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

Book 2 Repertoire

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

Layout

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

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

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

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

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

Genuinely Brilliant!’

Andrew Eales, Pianodao.com Blog

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


My publications:

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

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


 

 

 

 

Play it again: PIANO Review

Play it again: PIANO has already received some excellent Amazon UK and Amazon US reviews, and I’ve been extremely happy with the feedback so far (from teachers and students, to a whole gamut of piano professionals and enthusiasts). This week, however, the Schott Music team and I were delighted to receive the following review from the Pianodao blog. Pianodao is owned by pianist, teacher and writer, Andrew Eales, who blogs on a variety of piano topics, and is noted for his detailed reviews of educational piano resources.

I have copied the review below, but you may prefer to visit Andrew’s blog and read the original version here.


Play it Again: Piano

Sheet Music Review

As Pianodao has become more widely regarded for its independent reviews, I find myself with a mounting pile of material sent for me to look at, most of which is really very good indeed.

That said, some products genuinely stand out from the crowd, because they are innovative, unusual, speak to my particular interests, or are just excellently done.

Melanie Spanswick’s Play it again: Piano books 1 and 2 are all of the above, and easily stand out in the crowd. In this review I will do my best to explain why I think that is.

Who is it for?

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

This new publication by the popular author, teacher and composer Melanie Spanswick, brought to us by Schott Music, makes its target market crystal clear from the outset, with a subtitle, ‘The perfect way to rediscover the piano’ and a back cover description that reads:

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

If you often find yourself saying ‘I used to play the piano…’ but wish you still did, then Play it again: Piano is the resource for you!”

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

The Publications

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The outstanding quality of these books is immediately apparent. The high gloss card covers contain 116 and 120 pages respectively, printed on high quality paper with a slight sheen to it, with very good binding that both allows the books to lie flat on the music stand while also being durable.

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

Just on the notation, I should mention for fellow purists that pieces from the Baroque and Classical Eras are (presumably) based on previous Schott Music sources, which in most cases include the addition of dynamics and phrasing rather than taking a clean urtext approach. Most pieces also include more than enough fingering suggestions, most of which are solid.

Explaining the rationale in more detail, the cover of Book 1 states:

“Book 1 will reunite you with the keyboard using original pieces from the piano repertoire and tips on how to get you playing fluently once again. This book ranges progressively from around UK grades 1 to 4 (elementary to intermediate)”

while the second book introduces itself:

“Book 2 is for the more confident ‘former’ piano player or for those continuing their journey from Book 1. This book ranges progressively from around UK grades 5 to 8 (intermediate to late advanced).”

The bulk of each book is split into four sections, each covering one level.

In More Detail

Each book starts with a technique primer section, offering four pages of good advice, including clear photographs. This covers posture, hand positions, flexibility and alignment. Both volumes follow this with three pages of general tips about practice, including some excellent suggestions for working on scales, arpeggios, finger warm-ups, and sight-reading.

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

Between these useful resources, the bulk of each book is taken up with the pieces at each of the eight levels, four per book. Each piece is preceded by (at least) two full pages of advice covering:

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

The core concept here is not dissimilar to the “How to Play…” column that Melanie (and others) regularly write for Pianist Magazine, equipping readers with the insights that they need to unravel the learning of a new piece. But the execution here is perhaps less discursive, with the three-point format giving clarity and cohesion to the excellent material provided.

A key question is whether this rich resource provides sufficient information for the adult player to work alone, without the help of a teacher. It does not claim to do so, but some adult returners may approach the course with that in mind. Personally I believe that it provides an outstanding source for independent learning, but without replacing the need for a good teacher’s diagnostic expertise, support and guidance.

The Repertoire

Crucial to the success of the books is, of course, the included repertoire.

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

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

Book One:

Elementary (Grades 1-2)

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

Late Elementary (Grades 2-3):

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

Early Intermediate (Grades 3-4):

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

Intermediate (Grades 4-5)

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

Book Two:

Late Intermediate (Grades 5-6)

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

Early Advanced (Grades 6-7):

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

Advanced (Grades 7-8):

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

Late Advanced (Grade 8+):

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

This is a fascinating selection on many counts.

Firstly, it is clear that at most levels the author made a point of selecting one or two contemporary pieces in popular and jazzy styles, as well as pieces equally representing Baroque, Classical, Romantic and 20th Century playing and compositional styles. And at almost all levels, there is a technical study.

Secondly, the list is a reminder of the many fabulous composers within Schott Music’s own catalogue, naturally represented here, including Tim Richards, John Kember, and Barrie Carson Turner. But it is also refreshing to have two of Melanie’s own compositions – the minimalistic ’Karma’ and more lyrical ‘Seahorse Dream’ – included here.

These have been licensed from EVC Publications along with two favourites by Elena Cobb. All four pieces are great, providing a wonderful and refreshing contrast, with the latter’s Lavender Haze a particularly lovely discovery.

And thirdly, for any adult or later teen player looking for a broad selection of really popular and appealing pieces to work on between grades, these are near perfect anthologies, including an ideal mix of lesser known material and contemporary pieces alongside several of the most evergreen favourites of the traditional repertoire.

Conclusion

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

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

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

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

Genuinely Brilliant!


Thank you Andrew!


My publications:

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

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


 

A few thoughts on piano teaching in Singapore & Malaysia

I spent an energizing and inspiring Summer period away from home this year. For me, this was the perfect way to enjoy a substantial break from my conventional teaching and writing. After working trips to the US (New York) and Germany (Gelsenkirchen), I savoured a relaxing, short holiday in Devon (South West of the UK) before embarking on a three-week sojourn to Southeast Asia.

I was predominantly based in Singapore, but I did cram a jam-packed five days in Kuala Lumpur (Malaysia) too. This part of the world has always been a favourite; I have visited these shores many times as a young pianist, more recently returning as an examiner (for the ABRSM) and an adjudicator for the British and International Federation of Festivals (BIFF). The culture, colour, and sheer vibrancy of this region resonate with me completely, and I particularly admire the deeply respectful attitude to my profession.

My work began with a visit to the Singapore Performing Arts Festival, where I was invited to adjudicate (for BIFF) small classes of solo piano and strings. This festival, which is based in Katong (to the East of the city centre), is fairly new and has yet to blossom into the colossal organisation of the Hong Kong Schools Music Festival where classes of sixty are a regular occurrence  (and where I will be adjudicating for a month in March 2018). The classes in Singapore were mostly filled with students preparing for exams or concert performances, and, as always, it was a real pleasure to hear their work and hopefully help with a few constructive comments.

The primary reason for the trip was to introduce and talk about my new two-book piano course, Play it again: PIANO (published by Schott Music), and under the kind auspices of the festival, I gave two days of master classes and a further two of workshops, all of which incorporated my new books. The first workshop was for students and their parents, and the second, for teachers. Both were well attended, but the workshop for teachers was especially interesting (pictured above). My chosen topics (piano technique, scales & arpeggios, memorisation and sight-reading) were subjects of concern such is the regularity with which these elements are taught, often due to examination requirements (the British exam system thrives throughout the region).

All twenty-eight teachers were not just responsive to my work, they were also keen to come to the piano, one by one, and try out my ideas and suggestions. The day flew past, and it was extremely satisfying and heart-warming to see such an animated, engaged group.

A couple of days were then spent giving private lessons for the festival; working both with children taking their graded exams, and teenagers and teachers preparing for their performing and teaching diplomas. Practice and preparation is a serious business in Singapore, which suits my style of teaching, and I relished working on the FTCL and FRSM repertoire with several students.

There are a plethora of piano studios and music schools in this tiny country,  some of which inhabit shopping malls! My second engagement was giving private lessons and public classes at The Musique Loft and Musique D’amour, also both based in Katong, in a mall full of beauty salons and health shops. These busy studios teach students of all levels, and we had fun working on mainly exam repertoire. Parents are generally involved with their child’s musical progress and frequently come to the lessons. Some will disagree with this practice, but I find it can be very beneficial; it ensures fruitful practice and therefore bodes well for overall improvement.

The teacher’s workshop at The Musique Loft (pictured to the right, above) was held in a studio with a beautiful Steinway grand and with another group of dedicated teachers. Memorisation is a popular topic amongst teachers; ‘I can never memorise and therefore find it challenging to teach to students’ is a remark I commonly hear. We work at this subject in several ways, but memorising on the spot is a feature of my class, and I’ve yet to find anyone who can’t do it. Observing pianists who suddenly realise they can master this aspect of piano playing is always a happy moment.

Another element which appeared popular at all the workshops, were the sight-reading classes (which round-off the day); at the end of each session, I encourage groups to sight-read altogether (one of which is pictured to the left, at the Performing Arts Festival), with three pianists per piano or six hands (there were nearly always two or three instruments in the room (and we had five pianos to work with in Kuala Lumpur!)). I use one or two pieces, both of which are well within most student’s capabilities, and we run through them with me acting as the conductor; I use the same musical parts duplicated, which makes it easier for students to ‘hear’ and feel where they are in the piece (and in the bar) at any given time.

British composer Mike Cornick has written a splendid series of trios, 4 Pieces for 6 hands at 1 piano (there are several books in the series for different abilities), and the second piece, Sempre Legato, is a winner (the front cover of this volume was photographed many a time during these sessions, by those eager to get their hands on a copy). Sight-reading in groups is a sure way to improve reading, although most work on this demanding discipline is done individually in my classes before playing as a group.

In this part of the world, piano teachers sometimes work in music shops (where jobs are coveted). After working for three days at The Musique Loft and Musique D’amour, I gave classes and shorter workshops for two days at the Cristofori Shop and School (pictured below) near Marina Bay (with an impressive view of the renowned hotel, Marina Bay Sands). The Cristofori brand is new to me – it’s popular in this part of the world, originating in Singapore, and taking its name from the ‘inventor’ of the piano, Italian maker Bartolomeo Cristofori (1655 – 1731). The Cristofori instruments I played had a slightly muffled, ‘soft’ tone and a deep touch (which students responded to favourably).I took the bus from Singapore to Petaling Jaya, to the West of Kuala Lumpur, where I stayed for a few nights. A refreshing change from flying, it was a pleasant way to spend six hours and offered a chance to enjoy the scenery. Kuala Lumpur might be viewed by some as an assault on the senses with its stunning Batu Caves (I managed a quick visit), frighteningly imposing Petronas Twin Towers, endless traffic jams, bustling night markets, open-minded cultural mix, intoxicating heat, and stupendously spicy, fabulous food!

Gloria Musica is a popular piano school in this region with many students and teachers (and it’s about to become larger with a lovely new premises). I had been invited to coach several three-hour master classes and two days of workshops; one for students and another for teachers (pictured above, at the end of the day, with Play it again: PIANO). A factor which I feel is important when giving workshops is the inclusion of all. Active workshops seem the best way to assimilate information, and to this end I urge each participant to come to the piano and engage in what is being demonstrated (although this is a personal choice; students are never forced to take part). As a result, everyone does participate and they usually comment positively on how much more is learned.

After the final classes, the tour concluded with a teacher’s concert (see poster below). A group of teachers at the school (and professors from UCSI University) played short pieces to a large and appreciative audience. I played some of my own compositions. The range of music was interesting, from a duet version of Carnival of the Animals (by Saint-Saëns) to some compelling (and previously unknown to me) Chinese pieces.

I am extremely grateful to the teachers and piano studio owners who kindly invited me to their schools during this period (and spent much time and energy showing me around these enchanting countries), to the Performing Arts Festival in Singapore for its wonderful hospitality, and to Schott Music for their exemplary distribution and vital support.

The opportunity to travel is a privilege. And to incorporate travel and work together is an aspect of my life which I have never taken for granted. I left Singapore and Malaysia with a greater understanding of the culture and complete admiration for their dedication to music study. I can’t wait to return very soon.

You can find out much more about Play it again: PIANO here.


My publications:

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

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


 

Top Tips for those returning to piano playing!

Renowned music publisher Schott Music have, this week, presented three writers in an article containing their top tips for all those returning to the piano after a break.

Published in conjunction with Pianist Magazine, I am delighted to be featured alongside Christopher Norton (composer of the well-known and much-loved Microjazz series and Micro Musicals, amongst many other publications), and Tim Richards (jazz pianist, writer and composer, and author of Exploring Jazz Piano and Improvising Blues Piano, as well as a long list of other books and compositions).

Our favourite tips and recommendations appear alongside videos and other information all designed to help students get back into piano playing and hopefully reconnect with this satisfying pastime. You can read the article here.

And you can explore my new two-book piano course intended for those returning to playing after a break, Play it again: PIANO (Books 1 & 2 are now both available), here.


My publications:

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

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

 



 

Play it again: PIANO Book 1

The piano is an intoxicating instrument. Those who have played in their youth often harbour a desire to return to it later in life. Piano ‘returners’ make up an increasingly large cohort of amateur pianists. Whether younger or older, it’s usually fairly easy to pick up again and  progress can be swift, proffering the opportunity to fall in love with this majestic instrument (and its colossal repertoire) all over again.

My new two book piano course, Play it again: PIANO has been written with the ‘returner’ in mind. Book 1 was published just last month (and Book 2 will be available from the beginning of July). The first book takes pianists almost back to the beginning (but not quite; this isn’t a piano tutor or method book).

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

In Book 1, the technique section focuses on flexibility, posture, and keeping relaxed during practice sessions, with a few warm-up exercises, posture suggestions, and scales, arpeggios, and sight-reading practice tips. The theory section offers note reading reminders and exercises, how to keep time, time signatures, and all the information needed to understand the music within the book.

Each book is divided into four parts, and Book 1 looks like this: Elementary, Late Elementary, Early Intermediate and Intermediate. Although this course is not necessarily exam based, it’s helpful to know the approximate grades for each level; Elementary is roughly Grades 1 – 2 level (ABRSM exam standard), Late Elementary, Grades 2 – 3, Early Intermediate, Grade 3 – 4, and Intermediate, Grades 4 – 5.

Each level contains seven pieces (therefore 28 in Book 1); a technical study, an arrangement and a selection of standard repertoire. My brief was to include a wide variety of styles and genres, so there’s plenty for those who enjoy rock, latin, jazz, blues and even a piece for those who want to try their hand at improvisation. I’ve endeavoured to add a number of favourite original works throughout both volumes, and have balanced these with some terrific lesser-known gems.

The Elementary section includes works by Purcell, Petzold, Bertini, Tchaikovsky, Elgar (an arrangement of Salut d’Amour), a latin number by John Kember and Elena Cobb’s improvisation piece, Super Duck. Whilst the Late Elementary portion features Clarke, W.A. Mozart, Schumann, Gurlitt,  a study by Schytte, a Scott Jopin arrangement and a rock piece by Tim Richards. In the Early Intermediate section you can expect to find works by J.S. Bach, Gounod, Chopin, a study by Lemoine, The Sailor’s Hornpipe (an arrangement), a ragtime piece by John Kember, and a blues number by Mike Readdy. And the final collection, Intermediate, offers Clementi, Burgmuller, Satie, a study by Czerny, an arrangement of Mozart’s A Little Night Music, a rock piece by Jurgen Moser and a minimalist inspired Contemporary piece (Karma from Digressions) by myself.

I’ve included the scale and arpeggio of each key (where appropriate), and warm-up exercises, tailored to certain pieces. There are a myriad of practice ideas, and different methods of breaking pieces down, resembling them with ease and with greater understanding. Each piece contains fingering, dynamic suggestions and (where necessary) some pedalling. Although you may choose to ignore this and add your own.

All the information provided for every piece is transferable to an infinite number of piano works, therefore building solid practical methods for tackling different styles and genres.

This book could be used by a plethora of students; adults returning to this pursuit (it could be useful for study on your own or whilst learning with a teacher), teenagers (or anyone of any age!) who fancy a progressive course with a variety of music (it could be used alongside piano exam preparation too), and piano teachers may find it a beneficial selection of repertoire to use with adult students in particular (several piano teaching friends have already started using Book 1 for this purpose).

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The pages are well laid out (see above) and are designed with ‘Tips’ and ‘technique’ box-outs (the books are published by one of the world’s leading music publishing houses, Schott), and I hope it’s an easy to use course, inspiring pianists to rekindle their love for the piano.

You can find out more here, watch my taster videos by clicking on the links below, and order your copy from many outlets worldwide, including:

For those in the UK: Schott Music or Amazon (there are many other online shops also selling the book).

For those in Europe: Schott Music

For those in the US: Amazon

For those in Canada: Amazon

For those in Japan: Amazon





My publications:

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

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