Grand One-Hand Solos for Piano, Book 1 Cover Image

Grand One-Hand Solos for Piano, Book 1: Piano Book

$6.99 USD

Grand One-Hand Solos for Piano, Book 1: Piano Book

Name: Grand One-Hand Solos for Piano, Book 1: Piano Book
Brand: Alfred Music
SKU: 00-39100
Price: 6.99 USD
Availability: InStock

6 Early Elementary Pieces for Right or Left Hand Alone

By Melody Bober

Level: Early Elementary

Item: 00-39100

$6.99

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Students with an injured arm or hand can continue their piano studies in spite of their injury with this series by Melody Bober. Each volume features pieces written especially for the right or left hand in a variety of styles, keys, meters, and tempos. Book 1 contains six pieces---three for the right hand and three for the left hand---each one providing the unique opportunity to develop the other hand while still progressing technically and musically.

"This collection is perfect for isolating and curing reading and technical weaknesses associated with a particular hand, as well as developing awareness that one hand is capable of voicing and artistic performance."
---Yiyi Ku, MusicTeachersHelper.com

Titles: Jump-Start (RH) * Spooky Sounds (RH) * Irish Celebration (RH) * Secret Mission (LH) * Setting Sun (LH) * Victory Parade (LH). A Federation Festivals 2024-2028 selection.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Grand One-Hand Solos for Piano, Book 1: Piano Book comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Grand One-Hand Solos for Piano

Publisher: Alfred Music

Page Count: 16

ISBN10: 0-7390-8795-9

ISBN13: 978-0-7390-8795-4

UPC: 038081435299

SKU: 00-39100

More about this title

About the Composer: Melody Bober

Melody Bober composes piano music deliberately crafted to deepen student musicianship while building confidence at the keyboard. She earned a bachelor's degree in music education from the University of Illinois at Champaign-Urbana (summa cum laude) and went on to complete a Master of Arts in piano performance from Minnesota State University, Moorhead, where she studied with mentors including Joel Shapiro and Andrew Froelich.

Bober brings two decades of public school teaching experience, university-level instruction, and private studio work to her compositional voice. Active as a church pianist, accompanist, and music director, she regularly clinics and conducts workshops for piano teachers throughout North America, sharing her approach to repertoire that resonates with learners at every level.

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Why we love this

This book acknowledges a real need in the studio or classroom: students recovering from injury shouldn't fall behind. Bober's pieces are written specifically for single-hand work rather than adapted from standard repertoire, which means each piece actually sounds complete and satisfying to play. The variety of styles and keys across just six titles gives students genuine musical growth while addressing technical isolation.

What to expect

Six pieces that span mood and tempo without feeling like exercises. From the upbeat energy of "Jump-Start" to the contemplative quality of "Setting Sun," these solos prove that single-hand writing can be genuinely engaging and stylistically varied. Each piece sounds complete, never skeletal or incomplete.

Who it's for

Students recovering from hand or arm injuries who need to keep growing as pianists without pressing both hands into service. Teachers looking for repertoire to isolate and strengthen technical weaknesses in a particular hand, or to deepen understanding of how one hand can carry an entire musical idea.

How to get the most out of it

Encourage full dynamic range even with one hand carrying the entire texture. Single-hand pieces often benefit from exaggerated contrasts between phrases to create the illusion of dialogue.
Pay attention to voice leading within the single line. Bober writes these pieces so students can hear how melody, harmony, and accompaniment function together in one hand.
Work through each piece slowly enough to shape longer phrases clearly. With limited hands, phrasing becomes the primary tool for musical expression.

How to use it

Assign pieces strategically as students work through recovery or as targeted technique builders within regular lesson plans. These pieces suit practice rotation and studio recitals, especially when you want to feature a student's returning strength or highlight the artistic maturity possible in early elementary repertoire.