This essential collection of 100 piano études is divided into 15 units that survey the technical challenges at the early intermediate, intermediate, and late intermediate levels. The early units review technical issues that students experience at the elementary levels, such as five-finger patterns and articulations. The later units introduce more difficult technical challenges that prepare students for advanced repertoire, such as playing ornamentation, octaves, and large chords. Each unit contains between five and ten études written by master composers from the Baroque, Classical, Romantic, and Contemporary periods. Within each unit, the études are arranged in order of difficulty. Each piece appears in its original form; notes have not been added or removed. The composers' original dynamics, tempo marks, phrase indications, and articulations have been preserved. Ornamentation is realized in footnotes. Added measure numbers provide easy reference, and editorial suggestions for fingering and pedaling have been provided. A concise foreword discusses technique at the intermediate levels. Two indexes are included: one by unit and technical skill, and another by level and composer. Unit listing: * Five-Finger Patterns * Articulation * Coordination between the Hands * Scales * Triads, Inversions, and Broken Chords * Double Notes * Left-Hand Development * Velocity * Arpeggios * Finger and Hand Independence * Repeated Notes * Accompaniment Patterns * Ornamentation * Octaves * Four- and Five-Note Chords Titles: * Alla Tarantella (from 12 Études), Op. 39, No. 2 (MacDowell) * Étude in A Minor ("Arabesque") (from 25 Easy and Progressive Studies), Op. 100, No. 2 (Burgmüller) * Étude in B-flat Major (from 25 Melodious Studies), Op. 108, No. 10 (Schytte) * Étude in C Major (from Practical Method for the Pianoforte), Op. 249, No. 65 (Köhler) * Étude in F Major (from The First Steps of the Young Pianist), Op. 82, No. 39 (Gurlitt) * Étude in G Major (from 25 Elementary Studies), Op. 176, No. 20 (Duvernoy) * Étude in D Minor ("Warrior's Song") (from 25 Melodic Studies), Op. 45, No. 15 (Heller) * Étude in G Minor (from Training of the Left Hand), Op. 89, Book II, No. 6 (Berens) * Exercise in C Major (from Étude for the Pianoforte), Op. 39, No. 1 (Cramer) * Little Étude (from Album for the Young), Op. 68, No. 14 (Schumann) * Maria (romanza sin palabras) (from Six Expressive Studies) (Granados) * Menuetto (from First Term at the Piano), Sz. 53, No. 16 (Bartók) and many more!

This exciting edition contains 100 early intermediate selections in their original form, spanning the Baroque period to present day. The repertoire, which includes several minuets, folk dances, character pieces and much more, has been carefully graded and selected for student appeal by editor Lynn Freeman Olson.

This practical resource provides foundational tools for scale, chord and arpeggio playing; exercises for developing precision, speed, agility and clarity of tone; and exercises and etudes that focus on a variety of technical challenges.

*This publication is perfect bound and has a glued spine. BOOK 1: LATE ELEMENTARY TO EARLY INTERMEDIATE. Introducing Etudes is a three-book series of studies specially designed to help students learn technique as effectively as possible. Students face a number of common technical challenges during their development as pianists. Usually, young pianists have to learn pieces from several books of etudes just to cover the basics. The pieces in this series have been carefully selected to include the best of those traditional studies, and every piece is conveniently and strategically matched to the technical challenge it was meant to teach. These pieces are arranged in order of difficulty for students from the late elementary level to the late intermediate level. In addition, the three-book series features eight original compositions by Ward Bowen written specifically to add new artistic repertoire to this genre. For convenience, a listing of technical challenges on page 3 provides a helpful resource for teachers to find the studies that are most appropriate to meet the unique needs of each student. As studies can be useful for many different purposes, they are listed by their most prominent functions. Teachers can use the studies for their primary purpose or use them creatively for added practice on a variety of techniques. This collection can be used by teachers and students to help lay a strong technical foundation for the study of repertoire. By covering the common technical challenges and introducing students to important etudes, the books are also a useful complement to any method. Contents: F. Beyer: Etude Op. 101, No. 18, C. Czerny: Etude Op. 823, No. 7, H. Berens: Etude Op. 70, No. 8, H. Berens: Etude Op. 70, No. 12, B. Bartók:Etude, from The First Term at the Piano, H. Schwing: Etude No. 4, from Easy Lessons in Piano Playing, F. Beyer: Etude Op. 101, No. 22, H. Berens: Etude Op. 70, No. 24, C. Czerny: Etude Op. 139, No. 2, H. Berens: Etude Op. 70, No. 17, C. Czerny: Etude Op. 453, No. 5, B. Bartók: Dialogue, from The First Term at the Piano, F. Beyer: Etude Op. 101, No. 48, W. Bowen: El Cisne (The Swan), W. Bowen: Once Upon a Waltz, H. Berens: Etude Op. 70, No. 13, J. L. Streabbog: A Pleasant Morning, Op. 63, J. L. Streabbog: On the Green, Op. 63, J. B. Duvernoy: Etude Op. 176, No. 3, C. Czerny: Etudes Op. 261, No. 1 and No. 2, W. Bowen: Galloping Horses, J. L. Streabbog: In a Hurry, Op. 63, B. Bartók: Etude in F, from The First Term at the Piano, H. Schwing: Etude No. 19, from Easy Lessons in Piano Playing, C. Gurlitt: The Fair, Op. 101

Carl Czerny (1791 – 1857) was an Austrian composer whose books of studies are still widely used in piano teaching.

A "must have" for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the "real world." Highly endorsed "Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I've already started practicing " ---Kenny Barron "In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one's technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one's ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands." ---Todd Coolman "It is understood that all musicians must play piano. Emiko's book fills a void for non-pianists addressing specific technical problems which will help towa