Best of In Recital Solos, Book 2: Piano Book

Book 2 respects the middle ground between beginner and intermediate repertoire by mixing classical and contemporary styles without feeling like a textbook. The deliberate introduction of articulation markings, endings, and tied notes through actual pieces rather than exercises means students absorb technique while playing music that feels substantial.

A collection that feels like stepping into a real piano library rather than a etude set. Blues grooves, Latin rhythms, and folk melodies sit alongside classical refinement, so each practice session brings a different character. The writing is clean and playable without being condescending.

Elementary pianists ready to expand beyond single-hand melodies and beginning to handle mixed articulation styles. This book works well for students who need variety in repertoire to stay motivated and benefit from exposure to real musical idioms like blues and Latin styles.

• Separate hands first when pieces call for limited hands-together playing; this builds independence before combining them, making the final coordination feel achievable rather than rushed.
• Explore the accidental-based key system as an opportunity: have students identify each accidental before playing and listen for how it colors the melody, turning notation into musical awareness.
• Let students choose their own tempo within reason for the stylistic pieces (blues, rags, Latin). These genres have built-in rhythmic resilience; a slower, confident interpretation outplays a rushed one.
• When approaching tied notes and legato passages, sing the melody first. Hearing the sustained quality makes the physical execution of holding through the tie much clearer.

Use individual pieces as recital solos throughout a semester or school year, spacing them so students have time to master articulation and key concepts. The variety means you can program a single piece to demonstrate a specific concept (legato staccato contrast, for instance) in a student showcase.

• Tied notes and their notational function across bar lines
• Legato and staccato articulation contrasts within single pieces
• Accent markings and dynamic shaping
• First and second endings and repeat structures
• Reading accidentals in non-traditional key signatures
• Hand independence and limited hands-together coordination
• Blues, ragtime, and Latin rhythmic feels