It can hardly be an exaggeration to say that this little-known volume, contemporaneously at least, is quite possibly the best summary of piano technique in existence. It is true that there have been advances in technique, and in our understanding of sound piano playing physiologically, psychologically and interpretatively--those wanting a contemporary source for sound technique should refer to Penelope Roskell's The Complete Pianist; however, for the fundamentals there is no better book to which the early-intermediate to intermediate piano player can refer.
As a compendium of basic technique and practical methods for improvement, this book includes chapters on chord progressions, sight-reading, scales, and double thirds practice.
About the author: Frank Merrick
Frank Merrick, a distinguished teacher, performer, and composer in the realm of classical music; he was recognised as a virtuoso pianist and also a prolific composer whose works embodied the early modernist/neo-romanticist style of early twentieth century British music. Born with a natural talent for the piano, Merrick's performances were known for their clarity, captivating audiences with his technical abilities and emotional depth.
At age 11 he became a student of Theodor Leschetizky, himself a student of the renowned pedagogue Czerny, who, in turn, had been educated by Beethoven. Under his tutelage and direction, he was at length recognised as both a fine performer and skilled composer.
As a composer, Merrick's compositions reflected his unique musical voice, blending elements of romanticism with modern harmonies and structures. His works often showcased his innovative approach to composition, pushing the boundaries of traditional classical music while still maintaining a deep connection to the rich musical heritage that came before him.
Throughout his career, Merrick collaborated with some of the most prominent musicians and composers of his time, including Sir Arnold Bax, further solidifying his reputation as a versatile and influential artist. His contributions to the classical music repertoire continue to exert some influence through his collaborations with other great musical figures of his time and his work as a teacher.
The work: Practising the Piano
At first sight, the book may not appear much. It is a thin volume consisting in just over one hundred pages. Yet, in that short amount of space, a great deal is accomplished. The book focusses on a series of practical guides to mastering different essential techniques at the piano.
There is advice on practising delayed continuity, or the technique of pausing at the ends of bars or phrases, thus allowing a moment to judge what one has played and to plan what will come next. By so practising, we are able to improve our focus and concentration during practice.
Merrick also relates detailed advice on singing and conduction, to improve the general understanding of the music we play. Then there are sections of chords and pedalling, fast finger passages, double thirds, octaves, fugues, and beauty of tone. There is much more than these sections only, and each one containing practical wisdom and advice for practising the piano. The book is more that sufficient to act as a practical bible for any piano student up to intermediate-advanced level.
No book can be more highly recommended.
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