Links to Vodcasts……

My blog has featured my ideas in written format, venturing as far as to include some scored examples – so I am hardly pushing the envelope of the available technology. I’d love to change the status quo, but for now I’ll just include some links to vodcasts that have just gone up on YouTube with me discussing teaching ideas for three pieces in the P Plate Piano series (and hopefully this style of link isn’t too irritating to click through on). From P Plate Piano Book One, a discussion of the fabulous Jane Sebba piece Quick as a flash: http://tinyurl.com/yjboyp8 And from P Plate Piano Book Two an exploration of Daniel Türk’s Presto: http://tinyurl.com/y8jzpzx And from P Plate Piano Book Three an explanation of the stunning little Too tired for anything from the fabulous 2 volume series, Seventy Keyboard Adventures with the Little Monster published by Breitkopf Hartel: http://tinyurl.com/yjy4sx4 There will be a dedicated P Plate Piano website, which is truly

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P Plate Piano Book 2: Composers

Today marks the first day P Plate Piano is available for sale in Australia, and I’ve been too sick to drag myself out of bed, let alone get into a shop to see how they might have this beautiful looking series displayed.  [If you want to see the cover design it’s currently up as the splash page for the still-under-construction website http://www.pplatepiano.com.au%5D But I think I might have enough energy (having been asleep most of the day, and having Tom at his grandparents’ place), to write up a quick piece about the composers who are included in P Plate Piano Book 2. Of course, I’ve used many of the composers whose work featured in P Plate Piano Book 1, so I won’t detail these composers, except to list them: Anita Milne (yes, my mum, who now has her pieces in 4 publications), Jane Sebba (pieces from her fabulous Piano Magic method books), Daniel Gottlob Türk (composer from the Classical period who

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P Plate Piano: the composers in Book 1

The P Plate Piano series will be available for sale in Australia on November 4, so I think it’s time for me to talk about the composers whose material I’ve used to create this series. Book 1 starts at roughly the point that a traditional method Book 1 ends – students are expected to know the basic mechanics of playing notes on the keyboard, reading steps and skips (2nds and 3rds), staccato and legato, rests, basic dynamic markings, and to be comfortable playing black notes and reading flats and sharps when placed directly before a note, while all the time playing within a set five-finger position. There are precious few composers who choose to create works within these extremely restricted parameters, but I found that, about 200 years after piano lessons really started taking off in the middle class, there is now at least a body of work from which to select the very best at this early stage of study,

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