The recently published Grade 8 Piano Anthology from Edition Peters is a stroke of publishing genius, predicated on the following ABRSM Syllabus statement:
“Candidates may use any edition of the music, except where a particular arrangement or transcription is specified. Editions quoted in the syllabus are given for guidance only and are not obligatory”.
With one of the most extensive back-catalogues, Edition Peters is brilliantly placed to jump in with a varied anthology of 24 of the best pieces from ABRSM’s 2021-2 syllabus, offering a clear improvement over the selection of just 9 in the board’s own Grade 8 Pieces book (reduced from the more generous 12 of previous years).
Not only does this anthology have the potential to be more musically nutritious and better value than ABRSM’s own, but it also offers a couple of other useful bonuses which I will be looking at later in this review.
This is undeniably a publication which overtly invites comparison with the official ABRSM alternative. So let’s see how they measure up…
Few professional musicians would question the value and usefulness of sight reading, meaning that skill which allows us to play music that we’ve never heard, just from the notation, and without preparation.
As a teacher who allows my students considerable freedom to choose the music they want to learn and bring along to the lesson, I find myself relying on this skill very regularly. And yet some teachers and students treat the development of sight reading as an afterthought, and a rather dull one at that. Compounding the problem, while sight reading has traditionally been an element of public grade exams, it is decreasingly so.
Trinity College London include sight reading as an optional test in their piano grade exams, but some teachers choose only to introduce it with “serious students” after intermediate level, and on the basis that players will at that point miraculously “get it”.
Perhaps this lack of enthusiasm will change with the launch of Trinity’s excellent new series, Sight Reading: A Progressive Method, a suite of three books offering a clear route for teaching sight reading skills from the get-go.
In common with most sight reading resources the series is linked to the grade exams, but happily it goes far beyond specimen tests and basic exam cramming, and can be used as a powerful resource to actually teach and develop sight reading ability.
As Trinity explain,
“The study of sight reading is valuable because it enables musicians to enjoy music that is new to them, either on their own or in a group. As with any other skill, confidence in sight reading comes with training and regular practice.”
So let’s take a look and see how the series can support teachers and students in those aims…