Great Editing: The Difference between Success & Frustration!

Guest post by Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer, editors of Classics for the Developing Pianist and Study Guides for Preparation, Practice & Performance Books 1-5

Classics for the Developing Pianist and Study Guides for Preparation, Practice & Performance Books 1-5

Our 5 anthologies contain the 100 pieces that pianists should learn to play. In the 5 companion Study Guides for each piece. Problems are IDENTIFIED and problems are SOLVED.                                                             

What Makes Our Books Unique

With all the great anthologies out there, why should you buy ours?

  1. ALTERNATIVE FINGERINGS:  Hands come in all shapes and sizes! Our fingerings often give two choices that will encourage students to try alternatives. We suggest they then cross out the fingering they will not use.       
    • VARIETY: Don’t you wish your student would play at different dynamic levels, rather than the same dynamic for every piece? Our edition gives different dynamic levels, just as any great artist does when performing.
    • SHAPING & PACING:  We have found that our students need help in shaping and pacing long crescendos and decrescendos.
    • BALANCE & VOICING: We bet your students, like ours, often need to be reminded that melodies need to be clearly heard over an accompaniment, or voiced clearly within a chord.
  3. ADDITIONAL PEDALING IS SUGGESTED: Anton Rubenstein said that “the pedal is the soul of the piano,” but how many of your students don’t give it a second or even a first thought? You can’t teach students to hear tasteful pedaling without first giving a good example. We clearly mark where to depress and release the pedal, when and where to use una corda, half pedal and other special pedaling effects. Many times it’s okay and even necessary to add subtle touches of pedal in Baroque and Classical pieces.
  4. TEMPO RANGE AND TEMPO CHANGE: We know you’ll agree that no one tempo is perfect for any piece to be played successfully!  For each piece we give a tempo range (for example quarter=100-120) rather than a specific tempo.  Many teachers have told us they love this feature. We’ve also indicated suggestions for rhythmic freedom that will enhance an artistic performance.
  5. ARTICULATION & ORNAMENTATION: Suggested articulations and realizations for ornaments are given to teach students historically accurate style and taste.

Each book contains 20 pieces from the four main style periods: Baroque, Classical, Romantic, and Contemporary. Additional suggestions for repertoire from the 20th and 21st centuries are given for each level. Take a look at the Table of Contents and see the pieces that are in each book:

Book 1 | Book 2 | Book 3 | Book 4 | Book 5

Why Study Guides for Each Book

Are you curious as to how to get your students to play Fur Elise musically AND in one tempo? Ever wonder how to teach those long trills in Mozart K.545, or how to play Clair de Lune like a professional?

During workshops and master classes, teachers often ask us questions about how we teach the pieces. Our Study Guides show teachers and students how to PREPARE, PRACTICE and POLISH the pieces in the companion repertoire books. 

Each piece that appears in Classics for the Developing Pianist appears in the Study Guide for that level. For each of the 100 pieces in the collection, we have detailed:

  • BACKGROUND:  Pianists enjoy knowing about the composer and about the character and mood of each piece. Lesson time is saved and pianists are given a sense of history, style, and general context.
  • FEATURES: This section provides a preview of the stylistic and musical elements that bring each piece to life.  Specifics such as texture, phrasing and compositional devices are highlighted to enhance the pianist’s interpretation and emotional projection.  
  • PRELIMINARY ACTIVITIES: Keep music learning fun and positive by anticipating mistakes before they happen. Pencil points provide suggestions for marking the score with ideas that anticipate rhythm and reading issues. Preparatory Exercises anticipate technical problems and suggest short, but useful warm-ups.
  • GENERAL PRACTICE POINTERS: While we suggest slow practice both hands separately (HS) an together (HS) these basic strategies only work when students know what to listen for and how to connect musical intensions with technical approaches. Practicing strong beats only, experimenting with alternate fingerings, and many other suggestions are included.                      
  • CREATIVE PRACTICE TECHNIQUES: Practice is only fun when students feel like they’ve quickly solved each specific problem in a piece. Strategies for fun and efficient practice include Blocking (BL), Groups Backward (GB), Groups Forward (GF),Two for One (2/1), Rhythm Patterns (RP). These are among the technics shown for isolating AND FIXING problem measures in each piece.
  • FINISHING TOUCHES: “What you see is often what you hear.” Students gain confidence in performing when we help them learn opening and closing gestures, lyrics and choreography for reinforcing the character of the music, and additional suggestions for use of rubato, voicing and dynamics are among the many suggestions given.

Watch 8-year-old Lilian Ji work on Part B of “Für Elise” with the help of our preparatory exercises:

We hope you’ve enjoyed learning about this new series we developed together. We’ve dedicated out lives to helping teachers and students around the world play with greater artistry and expression. Through this repertoire collections and the corresponding study guides, we hope to help you and your students as well!

Repertoire Books:

Book 1 | Book 2 | Book 3 | Book 4 | Book 5

Study Guides:

Book 1 | Book 2 | Book 3 | Book 4 | Book 5

About the Editors: 

Phyllis Lehrer
Ingrid Jacobson Clarfield

Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer are award winning Piano Professors & Private Teachers who have taught graduate and undergraduate courses in Piano Pedagogy for over 30 years and have taught private students of all ages and levels for over 50 years!!  

Edition Peters: Piano, Pedagogy, Studies and the Influence of Carl Czerny

Guest post by Christian A. Pohl, Professor of Piano and Piano Methodology, Head of Piano Department, University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig 

The start of the nineteenth century saw a seismic shift in the world of domestic keyboard playing as the piano rapidly displaced the harpsichord and clavichord as the instrument of choice in homes across Europe. Seizing on this new opportunity, a series of piano instruction methods were swiftly published, followed by methods and studies over subsequent generations that covered the rudiments of piano playing, technique and performance practice. A huge number of these studies are represented in the Edition Peters Piano Catalogue.

Major names in the field of piano pedagogy were quickly established – including Beyer, Burgmüller, Hanon and Clementi – but it was one who followed behind them that arguably defined the shape of piano pedagogy for generations to come. Indeed, even today – nearly 200 years after this educational “meteorite” first struck the German-speaking piano world – the waves of his impact are still being felt. There is no getting around Carl Czerny when it comes to pianistic exercises or didactic approaches to building a virtuoso pianist.

Carl Czerny
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Chopin: Poland’s “Cannons Buried in Flowers”

Between 1772 and 1795, the Russian Empire, the Kingdom of Prussia and the Habsburg Monarchy divided and annexed the Polish-Lithuanian Commonwealth amongst themselves in a series of three partitions.

Though one of the largest and most populous countries in 16th– and 17th-century Europe, decades of protracted political, military and economic decline led the country to the brink of civil war, made it vulnerable to foreign influences, and ultimately rendered it unable to withstand the onslaught brought by the encroaching powers, even in spite of a revolutionary new constitution, a war in its defense and an uprising led by Tadeusz Kosciuszko. (As a side note, Kosciuszko was also a decorated hero of the American Revolutionary War and an accomplished military architect who designed and oversaw the construction of state-of-the-art fortifications, including those at West Point.)

more “Chopin: Poland’s “Cannons Buried in Flowers””

Piano Music of Africa and the African Diaspora: The Best-Selling Anthology by William Chapman Nyaho

William Chapman Nyaho

While teaching at the University of Louisiana at Lafayette from 1991 to 2002, Ghanaian American pianist William Chapman Nyaho was struck by the utter lack of available piano scores by composers of African descent. To the extent that he could find any at all, they were mostly out of print or in manuscript form.

Shortly thereafter Nyaho found himself wandering the exhibition hall at an MTNA conference. He asked publisher after publisher for music by Florence Price. Publisher after publisher responded, “Who’s that?” Nyaho told them that she was an African-American composer and was told time and time again, “We only have Scott Joplin,” with the excuse being that there didn’t seem to be any demand for Price’s music. Nyaho replied, “The chicken or the egg: which comes first?”

more “Piano Music of Africa and the African Diaspora: The Best-Selling Anthology by William Chapman Nyaho”

Transcribing Keith Jarrett’s “A Melody at Night, with You”

Keith Jarrett

The 1999 recording The Melody at Night, with You is one of Keith Jarrett’s most popular records. Originally created as a gift to his wife, his versions of songs from the Great American Songbook plus the traditional “Shenandoah” are permeated by a special atmosphere that makes the recording one of his most personal audio documents. Jarrett dispenses with the jazz soloist’s conventional emphasis on dexterity, the “clever” phrase and the virtuosic sleight-of-hand, and instead strips these songs to their melodic essence to gently lay bare their emotional core.

After many years of preparation, the sheet music for The Melody at Night, with You has now been published by Schott Music with Jarrett’s approval and the support of Jarrett’s label, ECM.


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Guide to Remote Music Education

A black man sits in the living room of his apartment and plays a synthesizer. He composes music.

So much of what makes music fun for us is sharing it with others: playing in ensembles, performing concerts, worshipping with our congregations, and teaching our craft. Unfortunately, many of us have found the usual ways we gather together to share music abruptly curtailed recently. With the help of technology, though, teachers and students alike can access a plethora of opportunities for distance learning through online lessons and rehearsals, practice aids, self-instruction and advancement, and sheer repertoire exploration.

Here’s our guide to navigating distance music learning and instruction. Let us know if you have any tips or pointers, and we’ll be happy to share them with our community! more “Guide to Remote Music Education”

Mark Hayes: Perfect Postludes

The postlude following a service makes creation resound with praise and allows the congregation to leave the church proclaiming God’s greatness. As the signal for the congregation to disperse, it should be a stirring exclamation point to the service that connects the worship experience to the secular world to which the crowd of people is about to return.

PerfectPostludesWhat makes a perfect postlude? Mark Hayes answers this question with his new collection, Perfect Postludes: Hymns and Spirituals to Close the Service, which contains the following ten selections:

  • Jesus Shall Reign
  • I’m Gonna Sing When the Spirit Says Sing
  • Joyful Day
  • Christ the Lord Is Risen Today
  • O for a Thousand Tongues to Sing
  • I Want Jesus to Walk with Me
  • To God Be the Glory
  • Noble March
  • Lead On, O King Eternal
  • They’ll Know We Are Christians

Here Hayes himself describes his collection and what makes it so useful for today’s church pianist: more “Mark Hayes: Perfect Postludes”

Darcy Stanley: Seasonal Settings for Worship

Darcy Stanley

Guest post by Darcy Stanley introducing her new collection of sacred piano music, Seasonal Settings for Worship. Stanley, a composer, arranger, lyricist and orchestrator, has published many choral works, solo and duet arrangements, piano arrangements and orchestrations. As a pianist, she has been designated Permanent Professional Certified Teacher of Music in Piano from Music Teachers National Association, and has served as adjudicator for various music festivals and piano competitions. Stanley worked as adjunct music professor at Faith Baptist Bible College for 15 years, teaching piano and Choral Writing and Arranging. She and her husband, Tim, live in Greenville, SC, where she is pianist and director of orchestra and instrumental ensembles at Cornerstone Baptist Church.


SeasonalSettingsForWorshipLet everything that has breath praise the Lord! (Psalm 150:6) I have had the joy of praising the Lord through music since I was a child. As a little girl, I found great joy in playing the piano and singing for anyone who would listen. My sweet grandfather was my favorite and most frequent audience!

Many years have passed since those early days, and I am thankful for the numerous opportunities I have had to serve the Lord and praise Him with music. Serving as church pianist for most of my adult life has given me an appreciation of the importance of music in worship services. Pianists need to be prepared with more than just a few of their favorite hymns. Special services and occasions require music that will specifically enhance the worship service with an intentional purpose. more “Darcy Stanley: Seasonal Settings for Worship”

A Short Foray into Beethoven’s Variations

Guest post by Dr. Dominik Rahmer, editor at G. Henle Verlag.


The formal technique of “variations” played an important role in Beethoven’s work throughout his entire life. Critic Paul Bekker wrote in 1911, “Beethoven begins with variations,” and indeed this is true not only of the character of his oeuvre, but also of its chronological progression: Beethoven’s very first published work was his 9 Variations on a March by Dressler, WoO 63, which appeared in 1782.

Dressler Variations, WoO 63: Beginning of the Theme

Similarly, we could add that Beethoven also ends with variations. The Diabelli Variations, Op. 120, which are amongst his last piano works, not only crown his creativity, but also, in the history of piano variations, are probably equaled only by Bach’s Goldberg Variations.

The panoply of variations within his multi-movement works also indicates how fundamental this technique is in Beethoven’s musical thinking. Consider, for example, the profound closing movement of the last piano sonata, Op. 111, or the grand finale of the 3rd Symphony.

Though the themes of these movements were usually Beethoven’s own inventions, here we will focus on the pieces composed as independent variation sets on popular melodies. This vantage point reveals some interesting finds. more “A Short Foray into Beethoven’s Variations”

Sightreading. Solved.


Nancy and Randall Faber are pleased to announce the release of their newest digital support tool, the Piano Adventure Sightreading Coach. This innovative technology provides immediate feedback and assessment, making it the perfect companion to the Piano Adventures Sightreading books.


The Sightreading Coach “listens” to the student play along with the score, and instantly grades rhythm and pitch by highlighting incorrect notes and rhythms. Students can practice the exercise as often as they wish, and upload their best performance to the teacher in between lessons. Teachers can monitor student progress without using valuable lesson time, making at-home practice more accurate and efficient.

more “Sightreading. Solved.”