Educational Resources
Selected and Reviewed by Andrew Eales
Over the last couple of years, OUP Music have done a stellar job of thoroughly updating, revising, and giving a fresh new look to their beloved Piano Time series and Tunes for Ten Fingers books, refreshing the musical content of the existing bestsellers and adding additional titles to reinvigorate the range.
When I first heard of the latest title, Classics for Ten Fingers, I wasn’t immediately inspired, imagining it to be a collection featuring dull arrangements of the usual classical hits, but I’m happy to report that the book has far exceeded my initial expectations.
Written by Michael Higgins (who also brought us the excellent Christmas for Ten Fingers) and published by OUP Music, Classics for Ten Fingers is billed as A first piano book of easy classical pieces with accompaniments, and is a beautifully presented, colourful collection full of unexpected musical surprises.
In fact, it is so good that it’s not just a must-have for existing users of the series, but could equally entice those who prefer other methods but want to expand their beginner resources to include a wide and diverse range of great piano composers from previous generations…
Well-known and lesser-known…
Let’s kick off our survey of the book by listing the music included. In all cases these are super-simplified arrangements, all of which include teacher accompaniments that add harmonic depth and help retain something of the character of the originals, thereby elevating musical quality:
- The Walking Doll, Marguerite Balutet
- The Wanderer, Mélanie Bonis
- Impromptu, Franz Schubert
- Dialogue, Joseph Bologne, Chevalier de Saint-Georges
- Rondo, Wolfgang Amadeus Mozart
- Minuet, Elisabeth Jacquet de La Guerre
- A Musical Sketch, Elfrida Andrée
- Liebestraum, Franz Liszt
- Romance, attrib. Ludwig van Beethoven
- Little Waltz, Teresa Carreño
- Neapolitan Dance, Pyotr Tchaikovsky
- Tango, Francisca Gonzaga
- Melody, Fanny Mendelssohn Hensel
- Serenade, Cécile Chaminade
- Etude, Frédéric Chopin
- Night Prelude, R. Nathaniel Dett
- Silhouette, Samuel Coleridge-Taylor
- Carnival, Amy Beach
- Rondino, Louise Farrenc
- The Easy Winners, Scott Joplin
If you are already familiar with every piece here, congratulations! I’m not, but I think it’s a superb assortment that illustrates not just the value of classical music, but the range of composers and musical cultures that can be introduced to a beginner through the classical repertoire.
Some of the melodies, such as those by Mozart, Chopin and Schubert, may be readily recognised by music-loving parents, hopefully triggering shared enthusiasm and encouragement, while there are many more recent rediscoveries here for which you may wish to find scores and good recordings of the source works from which they are arranged.
In many cases, these pieces are drawn from the pedagogy repertoire, with music by Bonis, Chaminade, Beach, and Tchaikovsky that has a regular place in piano education. The learner might, before too long, encounter the music in its original form, whether being played by more advanced students at a pupil concert, or subsequently discovering it in an anthology or syllabus in years to come.
In terms of levels, I would suggest that the music in Classics for Ten Fingers is generally suitable for players in the second half of More Tunes for Ten Fingers. Even fairly early pieces in the collection place the RH in the D to A note position introduced in the second half of that book, while many of the pieces include sharps and flats.
Going even beyond that level, some of the pieces later in the book include syncopated rhythms and dotted crotchet/quarter notes. Personally I think I will use this book towards the end of More Tunes for Ten Fingers, and to provide additional material before progressing to Piano Time 1 or another method book.
An impressive resource
The music book maintains the delightful look and feel of the updated Ten Fingers series, significantly enlivened by Rosie Brooks’ superb illustrations of characters and pets enthusiastically gathering around the piano. Brooks’ artistry similarly elevates the pages within, without ever crowding pages, making the whole publication feel colourful, engaging, and above all fun.
Michael Higgins’ arrangements are often ingenious, recreating all of the original tunes across a ten note range, while the teacher accompaniments both flesh out the harmony and channel the vibe of the original classics.
I have to confess that when teaching players using the series as a whole I still tend to improvise my own accompaniments, but in these cases I will certainly use the provided ones, which nicely reinforce the character, harmony and style of the originals.
For each piece, Higgins also includes a pithy sentence introducing the composer, which I think is a lovely touch. His writing perfectly hits the spot in terms of promoting curiosity:
“Bologne, also known as the Chevalier de Saint-Georges, was a composer, violinist, and unbeatable swordsman.”
What perky child wouldn’t want to investigate further? And how about,
“Liszt was a famous Hungarian pianist and showman who often broke piano strings with his wild playing.”
It’s only a pity that some of the composers appear to have led somewhat less scintillating lives!
Another helpful feature of the book appears on the back page: a list of Italian musical terms that can be used as a glossary, and which could also provide helpful preparation for the terminology encountered in beginner-level theory.
Finally, I must mention the included audio recordings, which can be streamed on any of the major online platforms. These include a performance track of pupil and teacher duet, together with backing tracks featuring the teacher part alone. I think they are a great addition, which will inspire practice, help learners develop rhythmic playing, and play along with the teacher part.
Of course, you don’t need to take my word for it, as you can preview and listen to the pieces and arrangements for yourself on your preferred streaming service!
Closing thoughts
Like many beginner method books, Tunes for Ten Fingers relies substantially on music composed specially for young learners: pedagogical pieces that are full of character and appeal, but which inevitably give less exposure to the established classical piano repertoire.
How marvellous to introduce children to treasures of the piano repertoire sooner. Even in these very easy arrangements, this is music of quality and imagination, and it would be wonderful indeed if the children using this book are inspired to explore the greatest music as listeners from an early age, and later as players.
When I think back to my childhood, I was certainly inspired reading The Ladybird Book of Great Composers, and this undoubtedly fuelled my rapidly growing and intense interest in learning to play their music.
Classics for Ten Fingers is therefore an important publication: one which could not only change a child’s learning, but set them on a lifetime journey of discovery, enjoyment, and deep enrichment. It’s far better than most books I’ve seen of this kind, and I urge you not to overlook it.
Musicroom has recently joined Sheet Music Plus.
Retail links are being updated. Thank you for your patience.
Readers outside the EU should check for local availability.
Pianodao offers over 700 articles and reviews, all FREE to access.
If you appreciate this content, please support and follow the site:
