Grand One-Hand Solos for Piano, Book 6 Cover Image

Grand One-Hand Solos for Piano, Book 6: Piano Book

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Grand One-Hand Solos for Piano, Book 6 Cover Image
Grand One-Hand Solos for Piano, Book 6: Piano Book

Grand One-Hand Solos for Piano, Book 6: Piano Book

8 Late Intermediate Pieces for Right or Left Hand Alone

By Melody Bober

Level: Late Intermediate

Item: 00-40159
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Grand One-Hand Solos for Piano, Book 6: 8 Late Intermediate Pieces for Right or Left Hand Alone: Piano

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Description
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 6 contains eight pieces for late-intermediate students---four for the right hand and four 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: Wind Rider (RH) * Rosebud Rag (RH) * Jigs and Reels (RH) * Tango Romantico (RH) * Best of Times (LH) * On Stormy Seas (LH) * Moonlit Memory (LH) * Scat Jammin' (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 6: 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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Additional Details
Series: Grand One-Hand Solos for Piano
Publisher: Alfred Music
Page Count: 24
ISBN10: 0-7390-9277-4
ISBN13: 978-0-7390-9277-4
UPC: 038081448466
SKU: 00-40159

More about this title

About the Composer: Melody Bober

Melody Bober

Melody Bober brings together formal training in music education and performance with two decades of teaching experience across public schools, university settings, and private studio work. Her education at the University of Illinois at Champaign-Urbana (B.M. in music education, summa cum laude) and Minnesota State University, Moorhead (M.A. in piano performance) shaped her approach to composition, which prioritizes student growth and musical engagement.

Bober's work as a church pianist, accompanist, and music director informs her understanding of how musicians navigate real-world challenges. Her mentors—including Joel Shapiro and Andrew Froelich on piano, Mary Hoffman in music pedagogy, and Tony Caramia in jazz—left a lasting mark on her compositional voice. Today, she is a frequent clinician at teacher conventions and workshops across North America, known for combining innovative composition with practical classroom solutions.

Why we love this

This collection directly addresses a genuine pedagogical need by giving injured pianists a structured path to continued progress rather than enforced silence. Each hand gets equal weight across the eight pieces, meaning you're not shortchanging either hand's technical development while the other recovers. The variety of styles, keys, and meters keeps students engaged while building the single-hand facility that Bober intentionally isolates here.

What to expect

Eight distinct musical worlds, each crafted to feel complete despite using only one hand. Wind Rider soars with open figurations; Tango Romantico pulses with rhythmic sophistication; Scat Jammin' swings with jazz phrasing. Each piece proves that a single hand is fully capable of both technical display and emotional storytelling.

Who it's for

Students recovering from hand or arm injury who need to maintain momentum in their piano studies without reinjury. Also valuable for any pianist seeking to isolate technical or musical weaknesses in a single hand, or to develop independence and voicing awareness.

How to get the most out of it

  • Work the accompaniment independently first. Even though only one hand plays the melodic line, understanding the harmonic foundation strengthens interpretive choices.
  • Shape the melody with dynamic contours that would normally require two-hand collaboration. This forces deliberate voice leading from a single hand.
  • Use the stylistic character (tango, rag, jazz) as a guide for rhythmic feel and tone color; one hand must do the work of establishing both.
  • Record yourself playing and listen back to identify any dropped phrase endings or rhythmic droops where fatigue might set in.

How to use it

Feature these pieces in student recitals explicitly, highlighting the recovery journey and technical achievement; audiences find the single-hand constraint compelling when framed honestly. Use them strategically during group lessons to help uninjured students understand the concept of hand independence and awareness. Assign them to advanced students in your studio who need focused work on specific hand weaknesses or expressive capability.

Skills your students will build

  • Single-hand voicing and phrasing independent of the other hand
  • Technical facility and confidence in one hand while the other is unavailable
  • Reading and execution across multiple styles (tango, rag, jazz, character pieces)
  • Awareness of hand position and fingering choices that optimize voice leading in one hand
  • Stamina and control in sustained melodic passages without harmonic support from the other hand

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