'Twelve New Chapters' - A Year in the Life

Today is World Piano Day, and as well as being the release of a suite of compositions by my good friend and talented musician Michael A Grant, it is the official release date of my own suite of piano compositions - 'Twelve New Chapters'.

So, what exactly is this music?

'Twelve New Chapters' is, as you might have guessed, a suite of twelve pieces of music. Each one represents a month of the year starting, of course, with January, and developing through twelve pieces of music that all transition into one another and, in fact, come round full circle.

Inspiration

I was inspired to develop this piece of music several years ago when I already had the bare bones of the composition that is now 'Fluttering in the Breeze'. This was always a piece that put me in mind of springtime, yet to create a piece of music based around the four seasons seemed a little bit tried and tested. So I decided to break the year down further into the months, and I was incredibly glad that I did.

'Twelve New Chapters' provided me with an opportunity to experiment with different feelings, as well as to explore different literary references to certain months and seasons.

As you read on, you may learn more about what these were.

The Pieces

All in all, 'Twelve New Chapters' last for approximately 50 minutes - give or take a little depending on the interpretation of the performer. Each piece is not only written to stand alone, representative of its respective month, but also to work as part of the suite as a whole by transitioning smoothly from the preceding piece and transitioning smoothly into the following. Just as the months of the year flow into one another and the changes between seasons are gradual, I hope that this is represented in my music also.

A Sleep from Night to Morn

January is a very beautiful month, yet many people find it to be a little bleak. All of the bright lights and festivity of Christmas and New Year is well and truly over, and what's left is a cold, dark and often long month. Yet is still has a lovely feel for it.

I discovered a poem by Helen Hunt Jackson titled 'New Year's Morning', from which I quote the title directly:

"Only a night from old to new;

Only a sleep from night to morn.

The new is but the old come true;

Each sunrise sees a new year born."

Snowdrops

The transition into the month of February is very gradual, and I composed this short piece of music prior to naming it - all the while having its place in the year in mind. It was deliberately a little more active but without ever allowing itself to rush away - glimmers of hope in individual phrases that pull back before they can develop too much.

When I discovered that snowdrops are especially prominent in this month, it just seemed too perfect a name to fit to the music.

The "Ides Of" March

It was never going to be the case that March wasn't going to be represented by...a march. But naming the march was always a problem.

Due to the more upbeat - thus more quirky - nature of the composition, a quirky play on the title seemed just the ticket also. The Ides of March is, of course, 30th March. For me, however, the "Ides Of" is a title for my march, marching optimistically forward into a brand new season.

Fluttering in the Breeze

The original piece from this suite, and my firm favourite still. Representing April was always going to be a special one for me, as it is my birth month, and using my composition to portray the beginnings of spring was a joy a I believe it captures the mood well with its buildup. I was immediately put in mind of daffodils during the composition and, as we all know, a certain William Wordsworth wrote a poem about those very flowers;

"I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze."

Just to give you an idea of how long I've been sitting on this, this is a short video of me playing 'Fluttering in the Breeze' at the House of Music (Haus Der Musik) in Vienna in September 2022:

The Magical Hawthorn Tree

I couldn't believe my look when I found this old nursery rhyme:

"The fair maid, who on the first of May,

Goes to the fields at the break of day,

And bathes in the dew from the hawthorn tree,

Will ever strong and handsome be."

One thing I particularly love in composition is to sprinkle a touch of magic into it, and the implications of magic in this rhyme were too great to resist.

Wine and the Touch of a Hand

Here is another piece that I had already composed prior to titling. A pleasingly short piece in the old ternary form style, and one that I rather enjoyed. However I was stewing over a title for days.

That was until I discovered a quote by Charles Morgan;

"There are moments, above all on June evenings, when the lakes that hold our moons are sucked into the earth, and nothing is left but wine and the touch of a hand."

The idea of being sat down with somebody you love and a glass of your chosen drink (wine!), outside as the sun sets is one that I could fully envisage when writing and subsequently listening back to this piece.

Under the Full Buck Moon

The Buck Moon is the name given to the full moon in July, and I fancied the idea of writing a piece that was a little bit more upbeat. Representative of a summer party that played into the hours of night. This piece drew much more heavily from jazz than any of the other pieces in this suite, but I think its midway contrast makes it work.

Thunderstorm vs. Peridot

August may be the month that we all associate with summer, perhaps because it's deep seated from having the entire month off back when were at school! However, here in the UK the weather is not always at its best. I had already composed the 'Thunderstorm' theme of this piece, quite unaware that I would be incorporating it into this suite at all, but when I had the idea of using two themes to contrast one another I became excited.

Yes, thunderstorms happen in the UK during August, but I wanted to contrast it with something much gentler too.

Peridot is the August birthstone, and I just loved the idea of those born in the month rising against the storm and taking ownership. The second half of this piece - what I call 'The Peridot Waltz' - is for them. A brief nod back to the gentler passage of the thunderstorm's theme at the end implies that it is moving away and has been defeated.

First Term

The month that all schoolchildren dread - September! The first term of any year is always fraught with the same thing - playfulness to begin, frustration at academia, playtime again. And - although in the grand scheme of the suite this overshoots my year - my piece 'First Term' actually is the same three themes repeated three times - each one getting a touch more frantic to represent the sheer repetitiveness and frustration of schooldays.

Music for a Rainy Day

The original Jack Mitchell Smith piece. Needless to say when I do say that I composed this piece at the age of 18 in 2009, that the plan for this piece was not as part of a greater suite. However, October can be rainy and I didn't want to lose 'Music for a Rainy Day', so I welcomed it into the suite with open arms.

The Leaves Where You Walk

I feel that despite being the simplest piece in my suite, this is arguably the most powerful. We are, of course, in the month of November by now. And there is much time for reflection as we fast approach the end of the year. Not really, but December gets a little swallowed up by commercialisation so November is often the last chance we do get to appreciate how far we've come.

Frances Bellerby wrote a stunning poem titled 'All Souls Day' - a day which is recognised on 2nd November. In it, she writes;

"And yet - touch my hand

that I may be quite without fear,

for it seems as if a mist descends,

and the leaves where you walk do not stir."

This piece is also written in ternary form, and the middle section is entirely reflective of how far we've come as themes from 'Snowdrops', 'The "Ides Of" March', 'Fluttering in the Breeze', 'The Magical Hawthorn Tree', 'Wine and the Touch of a Hand', 'Under the Full Buck Moon', 'Thunderstorm vs. Peridot', 'First Term' and 'Music for a Rainy Day' are all recognised for a single bar each, often broken by splayed chords to remind us of the month we are in, harking also back to the mood of January as we fast plunge into winter again.

"So He Did Come After All!"

I didn't want to focus on the obvious holiday that was Christmas so much as winter itself, although arguably I did given the source material that inspired the piece. Back in 2014, I began underscoring a short story by Leo Tolstoy titled 'Papa Panov's Special Christmas' - to be narrated with piano music underneath.

I never completed this short project, however I had quite a few themes together. As children played outside, so would the music become much more upbeat and jaunty, for example.

Whilst I ensured that I did not focus too heavily on Christmas, I did make a nod to the original inspiration given the closing lines of the story;

""Didn't you see me, Papa Panov?"

"Who are you?" he called out, bewildered.

Then another voice answered him. It was the voice from his dream -- the voice of Jesus.

"I was hungry and you fed me," he said. "I was naked and you clothed me. I was cold and you warmed me. I came to you today in everyone of those you helped and welcomed."

Then all was quiet and still. Only the sound of the big clock ticking. A great peace and happiness seemed to fill the room, overflowing Papa Panov's heart until he wanted to burst out singing and laughing and dancing with joy.

"So he did come after all!" was all that he said."

The way I finish the piece with gentle arpeggiated chords is a nod to January's piece - 'A Sleep from Night to Morn', suggesting that the whole suite is about to begin again.

Artwork

The artwork for 'Twelve New Chapters' was designed and created by Karen Hayward. Whilst the album artwork is slightly condensed, you can see its full glory below:

Getting a Copy

I would love for you to support me in getting a copy of 'Twelve New Chapters'.

The best way to support me by far is to download directly from the website!

However, the album is also available on Apple Music, Amazon Music and more.

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'Miniatures for Piano' - Out Today

I have worked with the woodwind extraordinaire Michael A. Grant several times over the past couple of years, yet even two years ago (approx.) when he first approached me asking if I could record a suite of his own piano compositions, I was surprised. Not because I didn't know he was already an outstanding musician, but because even then I didn't realise that the piano was yet another string to his bow (although, to my knowledge, bows aren't a talent of his that have cropped up yet!)

'Miniatures for Piano' is exactly what it says on the metaphorical 'tin' (the cover) - a suite of short piano compositions (12) that draw influences from far and wide. It was a joy to perform them and despite piano not necessarily being Michael's main instrument, the compositional technique often shows extreme sophistication and it was a joy to play, learn, develop and eventually record. And today - World Piano Day 2023, no less - it is finally released to the world;

The Pieces

There is something for everyone and for every standard across the 12 pieces, and the range of influences is evident.

Compost Frog

I wouldn't expect anything less of a title from Michael, but it suits so perfectly with its hopping around. 'Compost Frog' is exciting to play with it's almost entire use of the piano's full range and 100% one-note-at-a-time approach to composition.

Vision of Triumph

Taking a piece that can be considered musically 'grandiose' is tough for piano alone. 'Vision of Triumph' should really be a fully orchestrated piece, with its opening and closing movements (based around one another's main chordal based theme) putting you in mind of the like of Tchaikovsky's 1812. Yet it startlingly contrasts in both texture and dynamic between these, creating a whole journey rather than a specifically designated fanfare or other form of celebratory composition.

Affetuoso

'Affetuoso' starts as a beautifully simple piece, with a typical 3/4 time not dissimilar to a waltz (though not so punctuating of its 3rd beat) which develops into a more pleasing rendition of itself with flawless key change before just getting that little bit more experimental. Its middle section is such an unusual contrast, being unsure of its minor or purely atonal tonality, yet it very satisfyingly resolves back into the original theme twice - broken up by some beautiful piano musings based around yet another new minor key. The continual change of key keeps this piece interesting, yet its official marking of key signature change only once lulls into a false sense of security for the first time performer.

Cascades

It's very daring to create a full piece of music by merely using very rapid arpeggiation of pure chords, however when the chords in question are so unpredictable and the dynamic and tempo are recognised then the result is quite striking.

Lullaby

I was always quite a fan of this one, and not because it is necessarily relaxing in the way that you might associate with a typical lullaby such as the famous one by Brahms. There is a certain mystery within this particular one - it's very pleasant yet there is just something in there to create a little less pure relaxation and a tad more trepidation that works so well.

Obfuscation

I believe that this one was my favourite whilst I was working through them. It put me in mind of some of the classical greats with its technique of alternating broken chords between hands yet creating melody using the 'leftover' fingers of the right hand to play above this, creating a singing melody and a constant drive. There is really no trickery with this one - once it begins you know what you are in for. It continues to move in a similar motion right through to the end, but that's OK when it's a piece you enjoy playing and listening to!

The Longest Night

This was the first piece that Michael sent to me and I have a very soft spot. Beautifully simple to sight read, but allowing for much interpretation. I feel it works as well with full drive behind it as it does stripped back and completely rubato (the latter being more how my video below recognises it). One thing I particularly love about this piece is that - for all it is a hauntingly beautiful piece throughout - it gives no warning as to its final few bars, the contrast to the following piece I find to be startling;

The Prayer

This is the piece of which the contrast from the end of 'The Longest Night' is so dramatic. 'The Prayer' is such a beautiful piece of music. Formed entirely of full, pure chords and lasting but one page of printed music, its switch between tonality is remarkably powerful, with the purity of its Db chord that starts each phrase being replaced approximately halfway through - and only once - by a C# minor chord. Harmonically they are the same chord, but they are marked differently in keeping with the piece being scored in C major. This is only due to its strict atonality. Despite every chord being absolutely pure major or minor, it covers too many different ones that it could be fitted any particular key signature.

Breaking Outwards

The second piece in the suite that is based around arpeggiation, although this time it is not so rapid as in 'Cascades' that fingers are left in the right hand to allow more ringing out of notes to create a melody above (similarly to 'Obfuscation', but using more pure arpeggiation in 12/8 this time). As ever, its continual use of accidentals and naturals creates a completely unpredictable piece.

Empty Walls

Sometimes the piano composer can be tempted to second the left hand - quite literally - and forget to allow it to do anything interesting. 'Empty Walls' is the piece that really allows the left hand to talk. Sure, the right hand still carries the very basic melody (one note / one chord semibreves) whereby some splayed arpeggiation of chords 'with a twist' are really what drive the piece.

Springs

I feel like every good composer should have a march in their repertoire, and here is Michael's contribution. Yet another piece that almost seems to 'out-grand' the piano, this piece would work phenomenally well with a brass band (or even an orchestra with full brass section!). Yet here we are, performing it on the piano. It's rhythm is strictly a little 'off sync' for a true march, but it is definitely one with the correct type of movement.

Parting Waves

I seem to recall that this final piece went through numerous titles - mainly 'Goodbye' and several different European translations of the phrase. However 'Parting Waves' is a lovely title to finish with. And the music is also lovely. A nice, simple piano piece that - of all of them - would be a lovely beginner piece for a pianist (although the left hand does demand quite a stretch - not a problem for me, but for many it may put them off!). Still, it is a beautiful piece to round off a wonderfully varied suite of music.

How To Get A Copy

This suite is available to download as MP3 or purchase on CD.

You can purchase it from Michael's website here, or alternatively from Bandcamp here.

See also: My own suite of piano music ALSO released today: 'Twelve New Chapters'.

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#pianomusic #worldpianoday #pianoday #piano #pianist #composition #newmusic

Learn New Music for World Piano Day

World Piano Day is here, and what a wonderful day it is!

For those of you who don't know what it is, World Piano Day is quite literally a day to celebrate all things piano. And what better day to do so than on the 88th day of the year (the piano has 88 keys. Get it!)

In 2023, our 88th day formula takes us to 29th March, and what better way to celebrate this day than to learn a brand new piece on the piano.

Don't panic, though! I don't expect that you'll be able to learn a whole new piece in just one day. But World Piano Day is a great excuse to widen your repertoire.

What is my Repertoire?

Your repertoire is usually what you most enjoy playing as a style. If you have formal piano lessons, you may have a firm grounding in classical music anyway and may, from your understanding of classical music, be able to further pinpoint the exact era that you wish to pursue more of;

Baroque

The Baroque period is 17th - 18th century, typically, and features composers such as Purcell, Handel and Bach. Performing Baroque music on piano often leads to far more artistic interpretation from the performer than is notated on account of scarcely having any dynamic markings in the scores. The reason for this is because of the limitations of what keyboard instruments they did have at the time - the organ (scores for which don't always translate too well to piano because of their elongated notes and fully tuned pedalboard) and the harpsichord (which is usually what you'll find, but bear in mind the harpsichord had no dynamic range so it really is performer's discretion). Quite often even tempo markings are omitted, which is why the beautiful and ever popular Pachelbel's Canon has been performed at several different speeds across the years!

Try Something New: "Keyboard Sonata in D Minor, Kk1" by Domenico Scarlatti

You may or may not have heard of the composer Domenico Scarlatti. Scarlatti wrote several sonatas ('keyboard sonatas'), and the great thing about them is that they were very short and fairly simple. Look out for his Keyboard Sonata (subsequently known now, of course, as Piano Sonata) in D Minor, Kk1. The score stretches a mere two pages, but because of both pages having their own repeat mark it creates a substantial length piece that can be learnt in a fairly short amount of time.

Classical

Whilst we have used the term classical as a bit of an umbrella term now to describe anything pre 20th century, (after which it tends to be referred to as 'modern classical'!), the classical era is fairly specifically 1750 and 1820. Nonetheless, names that we so readily associate with the era such as Beethoven and Mozart are indeed classical musicians! And, unlike the Baroque period, they had an instrument that revolutionised their 'keyboard' compositions - the pianoforte (literally the 'soft loud' in Italian, named as such because, unlike its predecessor - the harpsichord - the pianoforte could play different dynamics!). Therefore, anything composed for the pianoforte (or the piano, as we now know it!) was much more expressive and, whilst ornamentation was still found in many classical compositions, the invention of the pedalboard lead to new ways of expression that meant quite literally that fewer gaps had to be filled!

Try Something New: "Piano Fantasia in C Minor (K 475)" by Wolfgang Amadeus Mozart

Mozart wrote several piano sonatas, but his Piano Fantasia in C Minor (K 475) is particularly beautiful and fairly straightforward for the intermediate pianist to sightread. This is because:

1. a lot of it is performed at a very steady tempo and

2. Mozart's compositions utilised a lot of straightforward technique underneath its beautiful melodics, such as regularly repeating chordal patterns (arpeggiation or Alberti bass).

This is a particular favourite piece of mine to play, and I regret to say I'm no András Schiff (disclaimer every time I mention the name of a great pianist!). But here he is anyway, performing the entirety of this piece;

Romantic

Now we come into my most favourite 'classical' era - the Romantic. This is the time when the full potential of the piano was being explored, not least because of the rising popularity of the likes of opera and ballet. This rise led many composers to explore the compositional capacity of the instrument (and orchestral music as well, to be fair) from a much more narrative perspective. Composers such as Chopin would create Ballads and Waltzes where themes would be intertwined with mystery, rise and fall dynamically and tempo wise. Unpredictability was key, but never without good reason! It was all to create colour!

Don't panic - I'm not going to insist you try and learn Chopin specially for this! That would be cruel. Even the most professional of pianists and sight readers would balk at the thought.

Try Something New: "I Balladetone" by Edvard Grieg

Instead, I draw your attention to one of the most celebrated romantic composers of now and his time - Edvard Grieg, who was able to create the most fabulous soundscapes with both orchestra and piano. He composed a suite of piano works that was released across many books - 'Lyrische Stücke' ('Lyrical Pieces') and in Book 8 you can find the beautiful and remarkably-for-the-era straightforward piece that is titled 'I Balladetone' ('In Ballad Style').

Don't be fooled though - it's compositional simplicity does not mean that you can get away with a simplistic performance. This is one to really feel:

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Of course, you may find that you repertoire is not necessarily of the classical style - even if you play. Your repertoire may be a little more 'ambitious' than that, and cross into more contemporary territory.

Jazz

Jazz is a completely different ball game to classical, although much of it does take its basic theory from a classical understanding.

Whilst I have to confess jazz in its extreme is not my forte, I would actively encourage anybody to try out at least one of the classical-jazz fusion composers of the early 20th century, as that will open up a whole new window of musical appreciation and understanding.

Try Something New: "I'll Build a Stairway to Paradise" by George Gershwin

Perhaps one of the most famous classical-jazz fusion composers is George Gershwin, who wrote such amazing pieces for piano as 'Rhapsody in Blue' and a host of preludes. Don't worry, though. This is extremely ambitious!

If you can get a hold of any of Gershwin's songbooks, you can get 2 - 3 page instrumental piano transcriptions of many of his songs that he wrote alongside his brother (lyricist Ira Gershwin) et al, such as my personal favourite: 'I'll Build a Stairway to Paradise';

Ragtime

Thanks to the piano master that is Scott Joplin, ragtime is practically associated with the piano in its entirety, although it doesn't necessarily have to be. Take Dickie Valentine's 'Old Piano Rag', for instance. With him singing the words to a typically ragtime melody and a typically ragtime accompaniment being orchestrated, it just shows how influential Joplin was.

Whilst there were other composers of piano rags - equally popular ones at their time too - such as Joseph Lamb or James Scott, it's hard not to revert back to the Joplin we all know and love (Scott!).

Try Something New: "Maple Leaf Rag" by Scott Joplin

I apologise for being obvious, but it can only be this one. Chances are if you play piano, you already know 'The Entertainer' in some capacity, so I'm going to throw his next most famous (or arguably most famous, depending on what you know). It's great fun to play, relatively simple to pick up yet it sounds super impressive and it's a crowdpleaser. It is, of course, the 'Maple Leaf Rag'.

Top Tip for digital piano users: virtually all digital pianos come preinstalled with a 'Honky Tonk' piano sound. Ragtime is literally designed for this sound, so why not give it a go?

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Finding a Piece to Suit my Standard

Are you a beginner? Intermediate? Advanced?

Have you ever even played the piano before?

Don't worry! There's something for everybody to try and learn this World Piano Day!

Beginner: Classical and Romantic Music

Whilst it is true that classical music is one of the more complex styles to play, it doesn't mean that every single piece is a masterclass. For this reason I've actually omitted Baroque - not because all Baroque is easy, of course, but it's just then when Baroque is easy it's already at a standard that a beginner is well in tune with. Pieces such as Bach's Prelude and Fugue in C Major (from the Well Tempered Clavier) are pieces that can certainly be explored, but if you want to try something a little less obvious, read on.

Try Something New: "Moonlight Sonata - Adagio Sostenuto" by Ludwig Van Beethoven

Beethoven is arguably the most famous classical composer, and his piece 'Für Elise' has stood the test of time being a staple for beginner pianists. Chances are, therefore, that you can already play this!

Often mentioned in the same breath as this (not least because it is also Beethoven) is the beautiful 'Moonlight Sonata'. Whilst this is a fully fledged sonata in three parts (as many of his were), the beginner would benefit greatly from focusing on the first - and arguably most famous - movement: 'Adagio Sostenuto'.

Try Something New: "Träumerei" by Robert Schumann

It's very difficult to consider a lot of Romantic Music as beginner's music, and certainly not when the name Robert Schumann is thrown into the mix. However, his beautiful suite of music for the piano 'Kinderszenen' ('Scenes from Childhood') includes music that is of both beginner and intermediate standard. The piece 'Träumerei' is a great piece for beginners. It's slow enough to allow the performer time to read or contemplate their performance, and also features one or two techniques that may prove a fun challenge for the beginner such as a splayed (arpeggiated) chord towards the end, as well as some finger stretches that may not quite be natural yet to the player:

Intermediate: Baroque

Try Something New: "Air and Variations in E Major ('The Harmonious Blacksmith')" by George Frideric Handel

'The Harmonious Blacksmith' is a very simple theme which is repeated several times with variations - hence the genuine name of this beautiful composition.

This piece begins at the standard of a beginner's piece, but its progression into more complex rhythms and fingerings take it into an overall intermediate performer's territory.

Intermediate: Modern Classical

The most famous modern classical pianist and composer, of course, is Ludovico Einaudi. However there are just a few pieces cropping up that may be of competition.

Try Something New: "A River Flows in You" by Yiruma

Lee Ru-Ma a.k.a Yiruma is a South Korean pianist and composer. His approach to piano is extremely lyrical and demands an attention to detail to properly recognise the seemingly simple sounds of his composition. His most famous composition to a western audience, at least, is the rather stunning 'A River Flows in You'.

Try Something New: "Einfach" (from "Drei Romanzen") by Robert Schumann

This one sort of borders into advanced territory on account of;

1. it is in F sharp major - not necessarily a difficult key in which to play but certainly a challenge to read, and...

2. the right hand is written across two staves for the first 8 bars (which are then repeated with slight variation towards the middle of the piece).

Nonetheless, when it is mastered, it is a beautiful piece that can be performed with great confidence by the intermediate pianist.

Advanced: Latin American

I don't wish to suggest that Latin American music in itself is exclusively for advanced players, however when you are brought up on a certain training - such as classical - compositions by authentic Latin American composers can be a real challenge to read and to play, even just to wrap your head around due to the less conventional rhythms.

Try Something New: "Danza Del Gaucho Matrero" by Alberto Ginastera

One of the most famous pieces of Latin inspired music for piano is Alberto Ginastera's powerhouse 'Danzas Argentinas'. However, it is not for the faint hearted - that goes for listeners and performers. It is, however, just wonderful.

Full Disclaimer: I cannot play this yet, but it is on my list to learn!

Still, if you wish to beat me - the third movement - 'Danza Del Gaucho Matrero' is magnificent.

Advanced: Romantic Music

For those advanced pianists who really do wish to further their repertoire, the Romantic era was truly the era for that.

Try Something New: "Ballade No. 1 in G Minor, Op. 23" by Frédéric Chopin

Well, of course I was going to go to Chopin. Chopin was the king of Romantic piano playing, with ornamentation, chromaticism and lavish scales, tempo changes, expression and pedal work beyond compare etc. etc. - so it only stands to reason that one of his pieces should be included. And one such piece of his that I adore is his 'Premiere Ballade' ('Ballade No. 1 in G Minor, Op. 23). It takes a lot of work to get the fingering to such a standard as can be played at speed, but believe me - it is well worth it.

Advanced: Jazz Music

If you have some time to spare, why not give Gershwin your full appreciation and try his true masterpiece in its entirety as it was originally composed by the man himself - for piano solo.

Try Something New: "Rhapsody in Blue" by George Gershwin

Believe me, you will need patience with this piece. There will be bars that take weeks to perfect on account of how rapidly you need to perform them, how much finger independence is required to manoeuvre certain note progressions and how much determination is needed in performing to ensure that you hit the correct notes as hands are required to jump around an awful lot.

However, if you can achieve it you will be rewarded by being able to perform arguably one of the most complex jazz piano solos of all time.

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...but I'm an Absolute Beginner!

Not a problem!

There are many pieces that are just perfect for the absolute beginner.

Head over to YouTube or your preferred platform and just have a look at tutorials for piano pieces. Simple things like 'Greensleeves', 'Chopsticks' or even 'Jingle Bells' are classic beginner pieces.

Do consider, however, how seriously you wish to take your piano playing. Do you want to be able to play piano properly by the end of it, or are you just interested in playing the pieces?

If the latter, there are many tutorial videos and apps out there that help you along by just focusing on which notes to press and when, but if you do wish to learn properly then make sure you opt for a video that explains in detail the geography of the notes, why you are doing certain things and gives you more context. In the long run, you'll be a better pianist for it!

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