Expressive Etudes, Book Six

Expressive Etude work Six, compiled and edited by means of Suzanne W. Guy. The FJH Music Company, Inc. (2525 Davie Rd Ste 360 Ft Lauderdale, FL 33317) 2004 48 pp $695 Early advanced.

Expressive Etude volume Six is the latest addition to a collection of eight volumes of etudes compiled and edited by means of Suzanne Guy. The subtitle for the series is Traditional Studies for Artistic exhibition at the Piano. Guy has a lengthy distinguished career as a renowned teacher and pedagogue, and there can be little doubt that her many years as a teacher have contributed greatly to the of the highest order quality of selections she has chosen This is a greatest in quantity handsome collection that is beautifully edited and clearly laid on the outside on the page.

There are nineteen etude in the collection that overlay a wide range of musical mode of expressions and are offered in an approximate order of difficulty. You will find well-known etude like as those from Bertini's Opus 29 Grieg's Little Bird and a certain quantity of pieces by Burgmuller, Czerny and Heller. on the contrary you also will find a certain number of selections that aren't nearly as well known--and these are pieces with which you will want to acquaint yourself. individual of these is Nielsen's The Top, which uses, among other things, "small wrist circles pivoting around RH third finger." Perhaps you're unfamiliar with J Bach's prelusion in G Major, BWV 902a; this is another piece you'll want in your repertoire of teaching pieces. stay also includes a lovely etude by dint of Czerny in G-sharp minor the sole piece written by Czerny in that key

A marvellous addition is the inclusion, right below the title of each piece, of specific technical and musical challenges fix in the piece. This will be of great use for the teacher looking for that certain etude to address a certain number of aspect of a student's playing. With the Bach prelusion in G Major, for instance, shore writes "two-part invention texture; RH held notes with finger substitution; contrasting articulation." Indeed, these are the true issues presented in the piece. You also will find a brief paragraph about each composer at the extreme point of the volume. These contain a certain number of interesting information that might not be for the use of all knowledge. I've used Berrini's Op 29 Etude for years, on the contrary I never knew he made his hold four-hand arrangements of Bach's twenty-four preambles and fugues. (I assume this is contortion one of the Well-Tempered Clavier.)

At the beginning of the turn Guy offers some practice suggestions that have no doubt approach from her vast experience as a teacher. The last paragraph of these suggestions appears to be the best endorsement for wherefore we should have our scholars practice etudes. She writes, "It can be frustrating to posses the desire to be expressive, to freely call on a vivid imagination at will, and however lack the technique to support of that kind girls. Now is the time to hang a 'Do Not Disturb' sign upon the door to your practice area. You are the master of your have evolving technique, one that leads to comfort and command when a specific expressive drift accompanies every repetition."

I hardly can wait to gain other volumes in the series, and I eagerly await the arrival of the remaining two

Reviewed through James Litzelman, Arlington, Virginia.

COPYRIGHT 2004 Music Teachers National Association, Inc.

COPYRIGHT 2004 Gale Group