Catherine Rollin's Favorite Solos, Book 3: Piano Book

Rollin hand-selected these eight pieces from her catalog with piano teachers and students specifically in mind. The collection balances accessible, engaging writing with genuine musical substance, making each piece rewarding to perform while fitting naturally into standard intermediate method progressions. The stylistic variety means you can assign pieces that match individual student interests, whether they're drawn to blues idioms, classical forms, or contemporary pop-influenced writing.

These pieces capture the energy and character of American musical idioms alongside lyrical explorations. You'll find the snap and stride of blues and ragtime alongside tender, introspective moments, with modern harmonic writing that feels contemporary without overwhelming the player. The collection reads as both musically sincere and genuinely fun to perform.

Intermediate and late intermediate pianists seeking repertoire that moves beyond standard methods while remaining firmly rooted in accessible musical language. This collection works well for studio students working toward recitals, ensemble showcases, or festival participation, and for teachers building recital programs that reflect their students' diverse musical interests.

• Let the blues and ragtime pieces breathe rhythmically rather than pushing them toward strict tempo; Rollin's syncopation reads better when you feel the groove.
• Balance melodic clarity with harmonic interest in the lyrical pieces like Dreams of the Heart and Song of Hope by favoring the right hand's singing line without sacrificing the left hand's accompanying texture.
• Use the stylistic character of each piece to guide your pedaling choices; Great American and Nashville Rag benefit from selective pedaling that reinforces their rhythmic clarity, while Night Dance invites more atmospheric sonority.
• Approach the technical passages in Big City Blues and Boogie-Woogie Variations as opportunities to develop finger independence and consistent articulation across both hands.

These solos work beautifully on recitals where you want to showcase stylistic range without jumping to advanced repertoire; program one lyrical piece and one rhythm-driven piece to give audiences and performers varied colors. You can also use individual selections strategically throughout the year as motivating supplements to method book work, assigning them as rewards or introducing students to Rollin's compositional voice before moving to her more extended collections.

• Blues and jazz harmony, including seventh chords and characteristic left-hand stride patterns
• Rhythmic independence between hands in syncopated and ragtime idioms
• Pedal technique matched to style (clarity-focused versus atmospheric contexts)
• Legato and cantabile playing with appropriate voice leading in lyrical pieces
• Sight-reading across varied harmonic and rhythmic contexts