Play it again: PIANO Book 3

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

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

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

Play it again: PIANO Book 3

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

What you can expect to find in Book 3

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

Each piece contains between 3 and 10 pages of practice ideas and tips, as well as many musical examples, diagrams and photographs. The layout is very similar to that of Book 1 and 2. As this is a progressive course, it’s possible to ‘return’ to a level to suit your current standard; some may want to start at the beginning of Book 3,  whilst others may prefer to ‘drop in’ at a later stage.

Book 3 is divided into two parts:

1. Grade 8 – Post Grade 8 Diploma

2. Post Grade  8 Diploma –  Associate Diploma

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

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

Book 3 Repertoire

Grade 8 – Post Grade 8 Diploma:

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

Post Grade 8 Diploma to Associate Diploma Level

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

Layout

I’ve included the scale and arpeggio of each key, where appropriate; or I have linked it to those already featured in Book 1 and 2.  There are warm-up or pre-practice exercises, tailored to every piece. My aim was to highlight a myriad of practice ideas and different methods of breaking pieces down, hopefully re-assembling them with ease and with a greater understanding.

Each piece contains fingering, dynamic suggestions and (where necessary) some pedalling. Although you may choose to ignore this and add your own. All the information provided for every piece is transferable to an infinite number of piano works, therefore building solid practical methods for tackling different styles and genres. There are four videos online already, on Schott’s Youtube channel, and we will add another three teaching videos to this playlist very soon.

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

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

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

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

Alternatively, purchase from Amazon, here.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

Play it again workshop at the Frankfurt Music Fair

I’m really looking forward to giving a presentation and workshop at this year’s Frankfurt Music Fair or Musikmesse which takes place from April 2nd – 5th.  My workshop will be held on Thursday April 4th at 2.00pm. This presentation focuses on Play it again: PIANO Book 1, 2 and 3. Book 3 will be officially launched next week at the Fair, after which I’ll add links as to where it can be purchased for those of you who have kindly enquired.

I very much enjoy giving workshops and presentations. They nearly always include references to my books, and this one will be no exception. I’ll start by speaking about all three books within my piano course, which, as many readers know, is intended for those returning to piano playing after a break. The workshop highlights the importance of developing physical flexibility in piano playing, with audience participation and some relaxation exercises too.

The new addition to the Play it again course, Book 3, begins where Book 2 stops. It takes students on a journey from Grade 8 to the Associate Diploma level, via the new Post Grade 8 Diploma. As a quick recap, Play it again Book 1 is approximately Grade 1 – 4 level, and Book 2, Grade 5 – 8. Each book contains a collection of pieces mostly selected from standard repertoire. There are twenty-eight pieces in Book 1, and twenty-one in Book 2.

Book 3 features eleven works by a variety of composers and genres, with copious practice notes for each piece (some pieces have up to 8 pages of notes). It’s possible to form a Post Grade 8 Diploma or Associate Diploma programme from this book. Book 3 will be on sale at the Frankfurt Fair, and I’ll be publishing a much more detailed survey of the book next week.

If you would like to attend my presentation, you can find more information here. I look forward to meeting you.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

A Workshop at Forsyths

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

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

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

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


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

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

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

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

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

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

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


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

Basic Tips for Healthy Piano Playing

Earlier this month I presented a workshop for piano teachers at Millers Music in Cambridge. This activity will become increasingly important during 2019; Schott and I have organised several workshops across the country, and I’m really looking forward to meeting and working with teachers and students. The following article was published on Millers Music website earlier this week and it offers basic relaxation ideas, which is why I thought it useful to publish today. Hope it’s of interest.


My workshops for piano teachers offer a few ideas for developing basic flexibility in piano technique, with a view to harbouring positive habits during piano practice and piano performance. It’s a privilege to work with teachers, talking about technique, how to develop it, and more specifically, how to keep students free from pain, discomfort and tension.

The following tips serve as elementary suggestions; some can be done away from the instrument, and, as with piano practice, regularity is the key to success.

Before a practice session begins, sit at the instrument and drop your arms by your side, so that they hang loosely from the shoulders. Ensure your upper torso is really relaxed; it’s sometimes difficult to notice tension – this is why a good teacher can prove crucial. Relax from the shoulders and arms, through to the wrist and hand. The feeling should be one of looseness and ‘heaviness’. Remember this feeling, as it provides a useful reminder of relaxation during practice sessions.

From this relaxed position, swing your arms up (from the elbows), and literally rest the hands on the keyboard or a table top; it’s the ‘feeling’ that you need to cultivate, so it doesn’t matter if there’s no instrument present. Keep your upper body relaxed and loose as your hands rest on the piano keyboard. And don’t worry if you are not in the ‘correct’ playing position (your hands and wrists will probably be in a hanging position). This is not about playing, but rather about understanding the feeling of relaxation required for the concept of ‘tension and release’ necessary in developing technique. Assimilation may take time, especially in older students.

The next step is to use a simple five-finger exercise: try middle C – G with both hands in either minims (half notes) or semibreves (whole notes). Start with the thumb (in the right hand); play and hold the note (middle C) and then drop the hand and wrist afterwards. Keep hold of the note; you may need the other hand to help here, as both the thumb and fingers have a tendency to fall off the keys at first. As you drop your wrist, ensure that it feels loose; the wrist should be relaxed, and will probably be ‘hanging’ down from the key.  It’s not the position you would ever use to play, but it can provide the key to promoting flexibility, fostering relaxation. Work at each note in this way and then try with the left hand.

The final step for basic relaxation, would be to use the five-finger exercise again, but this time introduce a circular wrist motion technique. That is, using the same note pattern, but forming a circular motion with the wrist between every note whilst keeping it depressed.  They key here is to make sure that the whole arm, wrist and hand feel totally loose. If done after every note, this motion can really instigate complete flexibility, both physically and mentally, that is, students learn to remember the feeling and start to implement this into their practice regime. I encourage pupils to play to the bottom of the key bed, or play heavily and powerfully on every note, establishing a firmer touch.

These steps may take a good few weeks to master, after which we move on to little exercises (usually by Czerny, and these are followed by J S Bach’s Two-Part Inventions), implementing wrist motion techniques on extended passagework.



My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

Play it again workshop at Millers Music

For anyone in the Cambridge area (UK), I will be presenting a workshop at Millers Music next Friday. This free workshop is essentially for teachers, but anyone is most welcome to come along. I’ll be focusing on topics which run throughout my Play it again: PIANO course; with a brief walk-through of both books (touching on Book 3 too), followed by a practical workshop highlighting the suggested practice techniques intended for technical improvement which feature at the beginning of Book 1 and 2.

There will be plenty of opportunity for audience participation, and hopefully lots of discussion. Each audience member will be given a copy of my workshop notes detailing the considered topics, which will mostly examine the importance of cultivating a tension free technique.

The workshop will be held from 6.30-8.00pm on Friday 16th November, and you will find Millers Music in the heart of the city: Millers Music, 12 Sussex St, Cambridge, CB1 1PW, UK.

If you would like to find out more about Play it again: PIANO, which is a course for students returning to playing the instrument after a break, click here. You may also be interested in the following video, which has been recorded by piano returner Tommy, who runs a ‘piano corner’ on Youtube; this is the first video in a series which will survey each piece in Book 2.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

Piano teaching in Asia 2018

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):


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

A 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 piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

A 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.


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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


 

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 piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

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