More Favorite Classics: Solo, Book 2: Piano Book

This collection moves between intimate reflection and brilliant display. You'll find yourself in Bach's logical, crystalline lines; then drift through the melancholy of Chopin's preludes; then suddenly sparkle in Debussy's "Golliwogg's Cakewalk" or bounce through Ibert's character pieces. Each piece has its own world, but together they read like a conversation across centuries of piano writing.

Late intermediate through early advanced pianists seeking recital repertoire with genuine substance and historical weight. These students have the technical foundation to navigate Baroque counterpoint, classical forms, and Romantic expression, and they benefit from encountering major works by composers they'll study for years to come. Solo Book 2 works best alongside the Accompaniment Book 2, which enhances interpretation and provides a collaborative learning experience.

• Balance the ornamental passages in Bach's inventions and preludes by bringing out the underlying harmonic voice while keeping ornaments light and articulate.
• Shape the lyrical lines in the Chopin preludes and Schumann's "About Strange Lands and People" with attention to pedal changes that enhance harmonic color without muddying detail.
• Approach the Debussy and Ibert selections with a pianist's ear for sonority; experiment with partial pedal and subtle dynamic shading to create atmosphere rather than relying on speed.
• In the classical sonatina movements and Mozart first movement, maintain clarity in figuration patterns while allowing the melody to sing through, especially important when working with the teacher accompaniment in Book 2.

Feature these as the anchor repertoire in a recital devoted to masterworks across periods, or program individual pieces throughout a year's worth of student performances to showcase range and growth. The mixture of Baroque, classical, Romantic, and modern works makes it easy to build thematically coherent programs, and the 19-piece breadth ensures multiple students can draw from the same source without duplication.

• Baroque counterpoint and voice independence in two-part inventions
• Classical formal structures and phrase architecture in sonatina and sonata movements
• Romantic-era pedaling and dynamic shaping for color and sustain
• Legato vs. articulate touch in different harmonic contexts
• Tempo flexibility and rubato appropriate to different styles
• Character and imagery translation in program music (Schumann, Ibert, Debussy)
• Hand independence and part playing when working with accompaniment