Free PDF Pianists Guide to Standard Teaching and Performance Literature
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Pianists Guide to Standard Teaching and Performance Literature
Free PDF Pianists Guide to Standard Teaching and Performance Literature
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Product details
Paperback: 584 pages
Publisher: Alfred Music (March 1, 1995)
Language: English
ISBN-10: 0882846558
ISBN-13: 978-0882846552
Product Dimensions:
6.2 x 1.8 x 9.2 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
46 customer reviews
Amazon Best Sellers Rank:
#73,292 in Books (See Top 100 in Books)
I guess I'm glad to have it, but I was hoping for something a bit better.It deliberately limits itself to things the author believes no harder than the Bach Three-Part Inventions or Beethoven Op 49. It also largely avoids transcriptions. The text tends to be about as succinct as that in Hinson, and thus just as frustrating: a little more detail, even if opinionated, often would be welcome. It also mostly limits itself to things in print at the time of its publication over twenty years ago. With the rise of the web and IMSLP this is an unfortunate limitation for things published in past centuries; and, of course, it necessarily omits the wonderful resources now published electronically directly by composers.On the good side, I think there is a serious, and welcome, effort to include some pretty obscure things, particularly relatively easy ones. I'm pretty sure there are things in here I've not seen cited elsewhere. And it shows considerable respect to some valuable, easy pieces that aren’t profound enough to get much play in most other reference works. Again, it is over twenty years old, though, so nothing really recent, nor reflecting recent revisions of taste, are included.It does have an oddly hit or miss quality in some cases. For example, only a few of the Mompou Cancion e Danza and Impressiones Intimas are mentioned, though I’m pretty sure many of those neglected are still in the difficulty range covered.As a physical object it is substandard: it is feebly bound and pages were coming out within an hour of my first opening it. This is particular frustrating in a reference work.On balance, I guess I’d categorize it as a good start, but it could benefit tremendously from a thorough revision and updating. Though perhaps in this day and age such a revision would be better as a living on-line resource rather than as a static book.
I’ve had a couple of copies of this book over the past decade. The first time it was required reading for a pedagogy class so I bought it. However I didn’t find myself using it, and re-sold it on Amazon.Years later, a couple of colleagues highly recommended it so I thought perhaps I’d missed something so I gave it another shot.This book is useless unless the wide variety of your students have mastered all known standard repertoire and you are looking for less obscure gems for your students to tackle. The reality is, our students struggle to practice the things we give them, let alone the hundreds and thousands of obscure pieces that this book so painstakingly lists.But let’s assume I really did want to venture out and try some hidden gems. The book is organized in such a way that you have to already know what you are looking for. Repertoire is listed by time period and in alphabetical order of the composer, not by leveling. So, if you are looking for say, a level 2 piece, you’d have to dig around for quite some time, to find random level 2 pieces scattered throughout the book. You wouldn’t be familiar with the piece or composer, then you might search on IMSLP to see if it’s on public domain to ascertain whether it’s truly appropriate. That is a time drain.I don’t understand why the author went through the trouble of creating this anthology, and then not have it be user friendly.I have it on my bookshelf but again, it’s larely unused. The average piano teacher could simply use a classical anthology such as Keith Snell’s essential repertoire. And it takes the guess work out of leveling.I think this book is useful if you are considering specific pieces, and want to see what is written as far as pedagogical “watch out for octaves; not best for small hands†type of feedback. Even then I found descriptions to be descriptive yet vague enough that I still need to do further research. For example, I was interested in assigning a student Heller etudes. The ones listed aren’t necessarily the best ones in my opinion, and that’s just one example.
This guide does a wonderful job of covering both the teaching and performance literatures for the beginning to early advanced piano student. It covers Baroque, Classical, Romantic and 20th century periods. The 20th century section is especially thorough, taking up over half of the book. Pieces are described concisely, with technical and musical challenges of individual pieces briefly but insightfully pointed out. The grading system of 1-10 seems to be well thought out and consistently applied. To give a feel for the coverage, the most difficult works, given a grade of 10, include many of Bach's 3-part inventions, the Beethoven Op. 49 1,2 piano sonatas, the Mozart Op. 331 sonata (w/ the Alla turca finale), the Chopin 'Military' polonaise, and Debussy's 'Clair de lune.' Virtuoso works such as the more difficult Beethoven sonatas or the Chopin etudes are not covered. (For excellent coverage of more advanced literature see Hinson's 'Guide to the Pianist's Repertoire', in the new 4th Ed.) A feature that I like is that detailed coverage of teaching pieces is given. E.g., some order is brought to the dizzying array of Czerny's many teaching opuses, and many Burgmuller etudes are described and graded individually. Hopefully this fine work will be updated, as the only real drawback seems to be that important but more recent composers like Robert Vandall are not covered. Highly recommended.
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