The choice of new repertoire books aimed at early-stage pianists can often feel overwhelming. There is a limit to how much repertoire any pupil can get through, so any new book must offer both variety and pedagogical focus to make it a worthwhile purchase for increasingly cash-strapped parents, while also being motivating and attractive to play.
Happily, Piano Grades are Go! Initial to Grade 1 stands apart from most repertoire books in that it meets all these criteria. There is a wide variety of styles within each graded section, including tango, waltz, blues and march. The composer's experience as both a teacher and examiner are evident in the very careful benchmarking of the pieces. Presented in order of increasing difficulty, the hardest pieces at the Initial Grade allow for a smooth transition into the least difficult Grade 1 pieces. Most, if not all, pieces could be learnt either prior to exam work or between grades.
The eye-catching, superhero-style cover of Piano Grades are Go! will have instant appeal regardless of age or gender. This theme is continued subtly throughout, with a clear, uncluttered layout maintained. The composer highlights the ‘superskills’ of piano playing – the performance directions and pianistic techniques that will not only ensure success in examinations, but more importantly enable pupils to develop their musical imaginations and bring their playing to life. Listed on a separate page at the back of the book, these ‘superskills’ closely follow the parameters from the major examination boards, including:
- Chords
- Balancing the hands
- Hand coordination
- Legato
- Dynamics
- Two-note slurs
- Walking bass line
- Articulation
- Accents
- Playing fast
- Playing in strict time
- Keeping the beat
- Rhythm
- Syncopation
- Waltz time
- Swing rhythm
- Phrasing
This list could be used to keep track of progress in the skills required and readiness for each grade. The inclusion of the relevant ‘superskill’ at the top of each piece makes it crystal clear for the pupil to see how each piece fits in with their learning, while also helping them focus on the ‘success criteria’ for the piece.
Brief practice notes for each piece are included at the beginning of the book, which address both technical issues and musical communications. For example, in the song ‘In the Dark’, pupils are asked to ‘tell the story in the music’ and ‘surprise the audience’. Also included is a QR code to access recordings of all pieces, a very useful resource for encouraging detailed listening between lessons.
I would unreservedly recommend this book to piano teachers and look forward to the publication of the next volume.
