Rebalanced Piano Repertoire Level 1 – Digital Studio License

Description

This is a digital studio license version of Rebalanced Repertoire Level 1. If you purchase, you are buying a digital file that you can print at home – not a hardcopy book.

Welcome to Rebalance Piano Repertoire! These books aim to fulfill teachers’ desire to provide a more varied sampling of composers to their students (particularly when it comes to the representation of women) while not abandoning the standard teaching literature that we all know and love.

Listen to the Pieces

The wonderful Tricia Dawn Williams has recorded the pieces for us. You can find them on our Vivid Practice YouTube channel and in the Vivid Practice app.

The Rebalanced Piano Repertoire series is a progressive set of books with beautiful classical pieces for piano students. What makes this series unique is that it includes often forgotten female composers, alongside the more ubiquitous pieces pianists know and love.

Level 1 has long-term favourites like ‘Trumpet Minuet’ by William Duncombe and ‘Little Russian Air’ by Ludwig van Beethoven, as well as pieces that will soon become your favourites like ‘The Mouse’ by Narcisa Freixas and ‘Raindrops’ by Mel Bonis.

Look Inside

Levelling and Progression

The pieces are presented in a suggested order of teaching. This means that the book generally goes from easiest to most challenging. However, consideration is also given to varying the style of pieces (for example, two waltzes or two quick staccato pieces will not be placed back-to-back) and to the need for ebbs and flows in the level of challenge. So, although the book generally progresses in difficulty, it is not true that each and every piece is harder than the last.

Fingering

Fingering is relatively sparing in these books. Where there is an obvious good choice for the fingering, I have given it. However, as a general rule of thumb, if there could be some debate between teachers or differences based on a pianist’s individual hands, I have left the fingering off. This is because I believe in pianists developing the practice of assessing fingering options and writing down their choices on the score.