The Russian School Of Piano Playing Book 1 Part Ii Pdf Repack Review

The Russian School of Piano Playing (Book 1, Part II) is the second half of the foundational piano method edited by Alexander Nikolaev. While Part I focuses on the first year of study (basic keyboard familiarity and simple melodies), Part II covers the second year

, introducing more complex repertoire and technical requirements to transition students toward intermediate artistry. Remenyi House of Music Core Content and Curriculum

Part II is designed to build upon the musicality established in the first year with approximately 68 pages of systematic training. Amazon.com Expanded Repertoire

: This volume contains a balanced mix of pieces, including works by Bach, Handel, and Mozart. It is often organized into sections such as pieces, sonatinas, studies, and duets. Technical Development

: The curriculum emphasizes finger independence, coordination, and the introduction of scales and arpeggios. Articulations & Phrasing

: Students move beyond basic legato to combine different articulations—such as two-note slurs, staccato, and complex phrasing—often requiring independent movements between the right and left hands. Holistic Training The Russian School Of Piano Playing Book 1 Part Ii Pdf

: Consistent with the Russian tradition, the book simultaneously develops reading fluency, musical memory, and expressive "singing" tone. Accessibility and Resources

While the method is a staple in Russian children’s music schools, it is widely available internationally through Western publishers like Boosey & Hawkes Boosey & Hawkes Nikolaev Russian School of Piano Playing 1 | PDF - Scribd

An interesting and crucial feature of "The Russian School of Piano Playing, Book 1, Part II" is its revolutionary approach to "The Realization of the Bass Line" (Pseudo-Polyphony).

While most beginner piano books focus on playing melodies with simple block chords in the left hand (oom-pah style), Part II of this method introduces a sophisticated concept usually reserved for advanced conservatory training: independent voice leading in the accompaniment.

Here is why this feature is so distinctive: The Russian School of Piano Playing (Book 1,

Content Breakdown

1. Scales and Arpeggios Part II introduces the systematic study of scales. Unlike methods that teach scales merely as finger patterns, this book emphasizes the quality of the passings (the thumb turn) and the evenness of tone. It covers:

2. Technical Studies (Etudes) The book includes selections from foundational etude composers such as Czerny, Lemoine, and Gnesina. These are not merely mechanical drills; they are selected to address specific technical hurdles found in the repertoire pieces later in the book, such as:

3. Repertoire Part II is notable for its introduction of substantial, high-quality repertoire. It moves away from "nursery rhyme" arrangements and presents original piano works by masters. The selection typically includes:

The Core Philosophy

The "Russian School" is distinguished not just by what is played, but how it is played. Part II is built on several pedagogical pillars:

  1. The "Singing Tone": Russian pianism is famous for its ability to make the piano sound like the human voice. Part II introduces exercises specifically designed to cultivate a deep, resonant tone, teaching students that even scales and etudes must be played with musical intent.
  2. Freedom of Movement: The method avoids stiffness. Exercises in this volume focus on the freedom of the wrist and forearm, teaching the student to use weight and gravity rather than muscle power alone.
  3. Polyphonic Hearing: Unlike many Western method books that rely heavily on simple homophonic melodies, the Russian school introduces polyphony (multiple independent voices) very early. Part II challenges the student to control different layers of sound simultaneously.

Common Questions About the PDF Version

8. Expected Student Outcome After Part II

Upon completing Part II, the student should: Major and minor scales (up to 4 octaves)

Q2: Can I skip Part I and start with Part II PDF?

Absolutely not. Part II assumes fluency in non-legato touch, note reading in bass and treble clefs, and basic hand coordination. Starting with Part II without Part I foundation leads to tension, uneven playing, and frustration.

7. Technical Exercises Embedded in Part II

Scattered between pieces are short formulas meant to be transposed by the teacher or student:

  1. Five-finger patterns in C, G, F (ascending/descending, legato).
  2. Changing fingers on a repeated note (e.g., 3-2-1 on C).
  3. Held finger exercise:
    – RH: hold thumb on C, play D-E-F-G with 2-3-4-5, then release thumb.
    – Same with LH finger 5 held on bass C.
  4. Non-legato octave shifts – moving hand by interval of 2nd or 3rd without breaking pulse.

Q3: What level is Book 1, Part II equivalent to?

Roughly Grade 1–2 (ABRSM) or Level 2–3 (RCM). After completing Part II, a student is ready for Book 2 (which moves into sonatinas by Clementi, Bach’s Little Preludes, and easier Mozart).

6. Representative Pieces from Part II and Their Technical Goals

The book uses a mix of Russian folk songs, short etudes by unknown composers, and simplified classical fragments. Below are typical pieces:

| Piece Title | Technical Focus | |-------------|------------------| | “The Little Bird” (Г. Пахульский) | Anacrusis, quick hand shift, staccato vs. legato | | “Trumpet and Echo” (anon.) | Alternating forte/piano, imitation between hands | | “Lullaby” (В. Ребиков) | Sustained melodic line over simple left-hand chords | | “Two Hands Together” (etude) | Contrary motion in C major, quarter notes only | | “March of the Wooden Soldiers” | Dotted quarters + eighths, detached articulation |

✅ Note: Actual piece titles may vary by edition (Peters, Boosey & Hawkes, or Russian Музыка出版社). The pedagogical sequence remains consistent.

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