Premier Piano Course, Masterworks 6: Piano Book & Online Audio

A formal recital waiting to happen. These pieces invite students to think like performers, not just note readers. There's genuine weight to them, yet they're approachable enough that students experience the satisfaction of bringing something substantial to life.

Students at Level 6 who are ready to engage with genuine musical literature rather than exercises. These pianists have the technical foundation to tackle real stylistic challenges and benefit from understanding how composers from different eras approached melody, harmony, and form.

• Study the editorial fingerings and pedal markings as pedagogical choices, not rules. Discuss with students why the editors made these decisions and when students might adjust them based on their hand size or sound preferences.
• Use the online audio to model phrasing and tempo before assigning a piece. Students who hear the piece first often internalize the structure faster than those reading cold.
• Work through the dynamics and articulation markings with score in hand. Many students rush through these details; treating them as compositional intent rather than decoration changes how they practice.
• When a piece includes added titles (as some untitled works do here), read the title with students before playing. It primes their ear for the character they're about to create.

Build an end-of-year student recital around these works, pairing pieces from different periods so the program has shape and variety. Alternatively, integrate them throughout the year as students complete corresponding lessons in Book 6, using them as the culminating musical statement for each unit of study.

• Interpreting editorial markings (dynamics, pedal, phrasing) with musical intention
• Recognizing stylistic differences across Baroque, Classical, Romantic, and Contemporary works
• Performing unarranged repertoire at an intermediate level
• Building recital-ready pieces with consistent practice and attention to musical shape
• Understanding how composers use tempo, articulation, and texture to create character