FJH Solos at Their Best!, Book 3: Piano Book

This collection cuts through the noise of generic method book fare by actually programming variety students want to play. Marlais has carefully curated solos across multiple styles, tango, rag, waltz, lyrical writing, even polymetric exploration, so every student finds something that speaks to their musical interests, and your recital program gains real character.

A refreshing mix of rhythmic vitality and lyrical breathing room. Boogie struts alongside tender moments; a tango's swagger contrasts with intimate character pieces. Nothing here feels like training wheels, each solo carries enough personality to make a student proud to perform it.

Late elementary students ready to explore beyond classical miniatures and into genuinely stylistic repertoire. This book works equally well for piano students building solo recital experience and for group class settings where you want to assign pieces that maintain engagement across a wide range of musical tastes.

• Pay attention to the style markings and rhythmic character of each piece before diving into notes; a tango and a boogie require entirely different physical approaches at the keyboard.
• Record yourself playing through the collection and listen back for consistent tone quality across the stylistic shifts; these pieces demand flexibility without losing your voice.
• Spend time with the polymetric piece separately, breaking it into manageable rhythmic chunks rather than learning it at tempo from the start.

Ideal for January or spring solo competitions and student recitals where you want each performer to shine with distinct material. You can also assign solos from this book as capstone pieces in unit-based curricula, rewarding progress through technique work with repertoire that feels like a genuine accomplishment.

• Style-specific performance practice across tango, rag, waltz, and contemporary idioms
• Polymetric reading and execution
• Rhythmic independence and groove awareness
• Pedal application in varied harmonic and textural contexts
• Musical phrasing in non-sonata forms
• Sight-reading across diverse harmonic language