Around the Globe Music & Arts

Newsletter August 2022

Dear Followers, 

We are pleased to announce the winner of our second Young Musicologist Competition 2022, which occurred earlier this year. 

Our adjudicators’ panel unanimously decided that the prizewinner is 16-year-old student Jakub Skop, for writing a brilliant article,
Chick Corea and ‘Spain’: An avant-garde synthesis, 
which we are happy to publish in this newsletter and on AGMA’s website. 

It was a pleasure to read this engaging and exciting written work, and we hope it appeals to our audience – especially during the summer break. 


Please note that regretfully, we will not be organising the Around the Globe Piano Music Festival – The Piano Competition this year. It has been a joy and a privilege to have instigated and run this festival, and we hope to continue next year in 2023.

Chick Corea and ‘Spain’: An avant-garde synthesis

By Jakub Skop

Composed in 1971, recorded in 1972, the album Light as a Feather modestly celebrates its 50th anniversary. An undeniable classic and crafted set of compositions in its own right, it is also a musical experiment that propelled an entire genre and kickstarted the distinctive piano style of Chick Corea. And it’s the album’s final piece Spain through which I’ll explore the influences and inspirations that sculpted this jazz standard for me. But first, a little background….


Born on June 12, 1941 in Chelsea, Massachusetts, US, Armando Corea was steeped in music for most of his childhood. His father, a former Dixieland Jazz band leader, introduced the piano and drums to him at the ages of four and eight respectively. A teacher of his, concert pianist Salvatore Sullo, left a distinct imprint on the young Armando and fostered his love for composition. In his late teens, Armando began performing in gigs and then went on to play in a local jazz club – formal education was somewhat disappointing for Armando as he went to study very briefly at Columbia and Julliard but ultimately deciding that wasn’t the direction for him.[1]
And so began his professional career in the 1960s, playing on the vibrant buzzing streets of New York City, ping-ponging between bands, like the Latin-infused ensembles of jazz fugitives Mongo Santamaria, flautist Herbie Mann and singer-songwriter Sarah Vaughan[2]. As Chick once said – “I couldn’t speak Spanish, but I was learning how to play!”. Establishing himself as a fresh and agile improviser, he quite simply, through word of mouth, secured himself a place in the company of arguably the greatest jazz player of all time, Miles Davis, during an incredibly formative time as part of Miles’s fantastical-sounding Lost Quintet, named so as no records were ever made. It was here that Miles Davis persuaded Chick to sample the electric Fender-Rhodes Piano, an instrument that Corea was initially skeptical of. Ironically, it has become inseparable from the smooth yet stirring timbre you could recognise from a tinny speaker across the street from the Rockefeller Center – “Yep, that’s Chick Corea!”
The band went on to record pioneering albums such as Bitches Brew and In a Silent Way that paved the way for the jazz-rock fusion of the 1970s. And it was here that Chick split from the group to grow his own sound, beginning fleetingly as the free jazz group Circle, as well as some solo work. However, something wasn’t cutting it for Chick – between seeing the buzz generated by the jazz-rock of bands like Weather Report and the Mahavishnu Orchestra, or his increased zeal for the humanist aspects of Scientology, Corea revealed a new avenue of exploration in his music – the audience.
“I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship with an audience, really, until way later.”
This brings us full circle to the second album of the first incarnation of his project, Return to Forever, and the award-winning instrumental in which you hear this history coalesce into a single sparkling diamond in the rough.

Chick Corea’s Spain

Preceded by the flaring and flamboyant performances of Captain Marvel and Light as a FeatherSpain certainly doesn’t fail to deliver the same amazing level of energy. But before doing so, the piece starts with a somewhat unusual introduction; Unlike the bossa-nova inspired melancholy and sultry singing of Flora Purim on tracks like You’re Everything and 500 Miles High, it begins with classical music.
More specifically, the opening of the adagio movement from Concierto de Aranjuez, a staple of the classical guitar repertoire written by legendary 20th Century Spanish classical composer Joaquín Rodrigo. And so, this light, fluttery and intricate melody in B minor begins the piece, accompaniment stripped back apart from a quiet flute drone and a shaker in the background that will always remind me of crickets and cicadas at dusk. Translating the theme between instrument and genre is itself a challenge, and Chick keeps the mordents and trills while adding his own jazzy chromatic passing notes and sequential flourishes as well as a sprinkle of high-register notes, resembling the ringing artificial harmonics a guitar player might play.
And just as it perfect cadences and all seems done, the music explodes into a short bridge that feels like the main theme, first time round: tresillo rhythms in the flutes and castanet percussion imbue that Latin vibe, but nevertheless it is cut short by another bridge. This is an entirely new texture from the homophony of before – suddenly the drum groove stops, and the only percussion you hear is straight quaver claps: piano, bass and flute all play in unison, an unstoppable force spitting out these really syncopated rhythms; It never fails to make your head bop or your feet tap! This short bridge and B section are repeated again for the audience before every improvisation* to come – the highlight of this piece and any other jazz standard.
Now that the stage had been set and the audience daringly enticed, it’s the turn of the musicians to one by one take the spotlight. And as much as I would love to dedicate time to each solo, especially the iconic flute playing by Joe Farell and a sharp and punchy bass solo from Stanley Clarke, I’ll specifically focus on Corea’s improv, beginning with the harmonic side of things:

 | Gmaj7 | F#7 | Em7 A7 | Dmaj7 (Gmaj7) | C#7(b9) F#7(#9) | Bm B7 |[3]

This is the loose outline of chords is taken partly from the concerto earlier (spiced up with extended chords often), and you can see many features of jazz harmony creeping in, such as the movement around the circle of fifths, especially the II-V-I progressions (C#7 → F#7 → Bm, or Em7 → A7 → Dmj7) – a staple of jazz harmony, they help establish temporary tonal centres in the progression, such as a centre of D (the relative major) in the middle of the progression. I also really enjoy the movement from the Bm to the B7; it always ends the phrases with this hopeful and bittersweet twinge.
Melodically, Chick manages to artfully craft a really beautiful, light and engaging solo; sometimes you’ll hear large sequential passages of just semiquavers up or down the keyboard, and then a more dissonant passage, or something rhythmic to draw the ear back, all while the left-hand alternates between staccato chords or a tresillo rhythm bassline to fill in the gaps of silence and often voicing the chords without the 5th, a much more spacious sound.


After Chick Corea passed away only last year at the age of 79, he still continues to inspire listeners across the world, and it’s impossible to not be seduced by this piece’s charm. This was the first piece of his I ever heard, and continues to be my favourite, not only because it prompted me to discover the modern side of jazz, I never was keen on listening to before. Accessible and appealing, energetic and enthralling, it will never be forgotten.

* For the classically minded this is like a modified Rondo form
[3] A transcription of the piece –

Jakub Skop is a 16-year-old student at Watford Grammar School for Boys. He currently plays piano at Grade 5 level and has participated in numerous competitions, including AGMA piano festivals three years in a row and winning the WBGS piano competition. Jazz music has been particularly formative for him; he enjoys both playing and composing his own jazz pieces, one of which won an award in the Compose Yourself competition. Outside of school he also recently joined the Woodwind Concert Band of the Watford School of Music and has performed a variety of pieces with them. In the future, Jakub hopes to study at sixth-form and then Mathematics at university.’

Newsletter July 2022

We are pleased to announce our next forthcoming live event

The Piano Recital of AGPMF Winners

Saturday 12th November 2022 7 PM 

St Cuthbert’s Church
50 Philbeach Gardens, Earl’s Court
London SW5 9EB

We want to invite all the Winning Pianists of the Junior and Adult categories of the Around the Globe Piano Music Festivals/Competitions for 2019, 2020 and 2021 to take part in this exciting event.

The participants will have the excellent opportunity to play on the superb Yamaha Grand sponsored by Markson Pianos at this stunningly beautiful new venue, an aesthetic church in the stylish part of Kensington.


To perform at the concert, you need to send your application no later than
FRIDAY 21st OCTOBER 2022 via email at:

In your application, you should state:

  • Your name and the code of the category/class that you have won
  • Please note that Your proposed programme this year does not need to relate to the category that you have previously won
  • Name of your Piano Mentor
  • Applicant’s entry fee for performing: up to 5 min – £10; up to 10 min – £18; up to 15 min – £23
  • Your preferred slot for a rehearsal: 5.00 – 5.55 PM or 6.15 – 6.50 PM
  • Please provide a copy of the music score of any contemporary work if published outside the UK and was not performed at previous AGPMF


You will receive our bank details and other payment instructions on how to pay upon accepting your entry.


We reserve the right to refuse the entry if the schedule is fully booked or for other sensitive reasons.

Due to high demand, we advise you to book early as the number of places is limited!

We hope you’ll enjoy participating in this recital and would appreciate any feedback regarding the whole AGPMF experience via our email.
Comments from teachers/parents/careers are especially welcome! 

Newsletter May 2022


We want to invite you to the piano concert Musical Colours of the Rainbow, which presents an exciting and innovative introduction to Contemporary Classical piano music, with a programme of composers from around the world and the UK that perhaps are less well known in the British piano music scene.

Around the Globe Concert Series

Piano Concert 

Saturday 18th June 2022, 8pm

St Cuthbert’s Church
50 Philbeach Gardens, Earl’s Court, London SW5 9EB

TICKETS: £20 / Conc. £15 (students & OAP) / Children under 12 y/o – FREE!

You can make bookings by emailing us with a request to:

Or online via Eventbrite

Or buy at the door.

Mónica Cárdenas – composer and pianist 

The Peruvian-Spanish composer and pianist Mónica Cárdenas’s exciting works are rich in Spanish harmonies and melodies fused with a myriad of African rhythms, thus bringing out her vibrant and unique style. She will play pieces from her latest piano solo album, 10 Preludes and Fugues of Latin America, and the cello piece Chaos with Alexa K Palmer-Campiglia.

The Darina Piano Duo

The acclaimed The Darina Piano Duo, of Antonina Koleva-Lax and Alla Levit, will follow with a performance of compositions featuring many musical genres, from Minimalism to Neo-Romantics and more. Their inspiring repertoire features the works of many women composers, such as Melanie Spanswick, Vera Milankovich, Heather Hammond, Lindsey Berwin and Zhanneta Metallidi, as well as Edward Germanand Valery Gavrilin.

The concert is part of the Around the Globe Music and Arts Concert Series, whose aim is to assist and promote emerging pianists and composers from diverse cultural and social backgrounds by introducing a wider audience to an appreciation of the late 20th/21st century Contemporary Classical and Jazz piano music.

* Many thanks to Markson Pianos for sponsoring the brilliant Yamaha Grand Piano for this concert! 

More info on Markson Pianos showrooms and services at:



There is still time to apply for the Second Young Musicologist AGMA Competition 2022 for a well-written article on modern composers and their piano works written after 1970, including different Contemporary Classical and Jazz styles.  

It is open to junior students up to 18 years of age to raise and develop their musical writing to a higher educational level. There are TWO categories, including pupils who are 14 years old and under and 18 years and under. The winners’ articles will be published on AGMA’s website and in this year’s Newsletters.

Our prizes also include three volumes of ‘Women Composers Anthology’, exceptional piano books by Melanie Spanswick, courtesy of Schott music publisher.

The deadline for the article submission is 3rd June 2022, 23.00 BST. 

Applications need to be made by an adult, teacher, parent or guardian. You may apply by sending the article, written in English, using an attachment in the Word file or similar, along with your cover letter where it should state:

– The name and age of the applicant

– The title of the article

– Name of applicant’s tutor/mentor

– Correspondence address

The entrance fee is £18 and can be made electronically to the Around the Globe Music & Arts bank account, which details will be sent to you upon the application.

Application to be sent to the AGMA Editor:

Newsletter March 2022

We are pleased to announce our return to organising live events,
including the
Around the Globe Concert Series.

Our inspirational ‘MUSICAL COLOURS OF THE RAINBOW’ piano concert,
scheduled for June 2022, will include music artists from all different parts of the world, such as composer and pianist Mónica Cárdenas and The Darina Piano Duo

It will take place at the exciting new venue, the aesthetically pleasing St Cuthbert’s Church,
in the prestigious area of Kensington in South West London. The performers will be playing on the superb Yamaha Grand, sponsored by Markson Pianos. 

More info on Markson Pianos showrooms and services at

Around the Globe Concert Series

Musical Colours of the Rainbow  


Saturday 18th June 2022, 19.30 BST-21.30 BST


St Cuthbert’s Church

50 Philbeach Gardens, Earl’s Court, London SW5 9EB


The Darina Piano Duo was established by pianists Antonina Koleva-Lax and Alla Levit-Anderson in 2014 and have performed in London, York and Durham. Their extensive repertoire includes Russian, English, German, French and Balkan composers, notably Mozart, Beethoven, Schubert, Tchaikovsky, Brahms, Bizet, Lyadov, Rimsky-Korsakov, Rubinstein, Arensky, Stravinsky, Gavrilin and Vujić.

The duo founded the successful concert series Russian Seasons in Paris. Many British contemporary composers such as Graham Lynch, Melanie Spanswick, Heather Hammond and Lindsey Berwin have composed music, especially for Alla and Antonina.

Dr Antonina Koleva-Lax
Antonina began her music and piano lessons when she was seven years old at a local music school in Yambol, Bulgaria. At the age of 16, she moved to Russia to study piano in the city of Tyumen (West Siberia) at the Tyumen Art College, where she obtained a bachelor’s degree in Piano Performing and Teaching (1987), followed by a master’s degree (1992) from Tyumen State University.
Antonina is a piano soloist and a chamber musician performing mainly in NE England. Since settling in the UK in 2005, she has also been teaching extensively at Durham University, the Sage, and is a Music Director of Academia di Musica Amata.

Alla Levit-Anderson Alla is a Russian concert pianist and pedagogue who has settled in England for the last 14 years. She started studying piano at the Special Music School for Gifted Children and later graduated in piano performance, chamber music, accompaniment and teaching at the famous St. Petersburg Conservatoire Rimsky-Korsakov.
Alla performed in the Small and Grand Halls of St. Petersburg Philharmonic and Conservatoire, the Concert Halls of St. Petersburg and Moscow Unions of Composers, and many other places in Russia, Germany, Portugal and the UK.

 Mónica Cárdenas – composer and pianist 

Mónica is Peruvian-Spanish who began her piano studies at the National Conservatory of Music in Lima, Perú and the Tchaikovsky Conservatories in Kiev and Moscow. In 2019 she obtained the Fellowship Diploma equivalent to a Master’s degree in composition from West London University. Mónica currently lives in Germany, where she has developed an extensive repertoire as a composer and pianist. This period as a composer has led her to receive awards and distinctions, such as the Gold Medal at the Global Music Awards 2021 and the ‘Honourable Mention’ at the 2nd World Composition Competition 2021 in Austria. Her compositions are for piano, chamber music, symphonies and theatre.

10 Preludes and Fugues of Latin America is a cycle of work that Mónica Cárdenas composed in 2020 and recorded in 2021. This CD production led her to win the Gold Medal at the Global Music Awards in 2021. The style of these Preludes and Fugues is an exciting fusion between the conventionally classical combined with original rhythms from Latin America such as the Yugo, the Zapateo, the Zamacueca, the Festejo, the Malambo, the Tango, the Bossa Nova, the Chorinho, the Mambo, the Habanera and the Huapango.



We are proud to be holding our Second Young Musicologist AGMA Competition 2022 for a well-written article on modern composers and their piano works written after 1970 including different Contemporary Classical and Jazz styles.       
It is open to junior students up to 18 years of age to raise and develop their musical writing to a higher educational level. There are TWO categories, including pupils who are 14 years old and under and 18 years and under. The winners’ articles will be published on AGMA’s website and this year’s Newsletters.

There are also special prizes to be won, including the Women Composers Anthology (three volumes), the latest books by Melanie Spanswick, courtesy of Schott music publisher.

The deadline for the article submission is 3rd June 2022, 23.00 BST.

Applications need to be made by an adult, teacher, parent or guardian. You may apply by sending the article, written in English, using an attachment in the Word file or similar, along with your cover letter where it should state:
– The name and age of the applicant
 – The title of the article
 – Name of applicant’s tutor/mentor
– Correspondence address

The entrance fee is £18 and can be made electronically to Around the Globe Music & Arts bank account, which details will be sent to you upon the application. 
Application to be sent to the AGMA Editor:


The article’s length should be between 1000 – 1200 words, including a bibliography.

  • The article should contain information about:

           – the composer, his piano opus, style and the epoch
           – the chosen piano work, including the musical analysis and use of different techniques and creative history of the composition.

  • The article should give your personal view of the composition, including the reason behind your choice, its sentimental and creative value and technical challenges, and describe the interesting figurative aspect.


By developing your voice and expressing an opinion, your story or idea will personalize the writing and highlight the uniqueness of your experiences. Inject your life into the writing as appropriate and search for a sense of place or narrative.
Use italics for titles of recordings (albums/cd’s), concerts, videos, books or other literature. The quotations should be used for composition, chapters, and article titles; punctuation goes inside the quotation marks. Write out the numbers nine and under in words and numbers that begin a sentence; otherwise, use numerals. Use numerals for decades, except at the beginning of a sentence. Use four digits for the first reference, with no apostrophe and then two digits with an initial apostrophe (e.g., the 1980s then ’80s).

Newsletter November 2021

Dear Followers,

We would like to welcome all our participants, including their
teachers and parents/guardians for taking part in the


8th Annual Piano Competition Online 2021 

Thanks to everyone involved in this event for their enthusiasm, talent and hard work, and we are thrilled that most of our contestants from the UK and as far away as Singapore will perform in the Second-Round on Zoom Online Social Platform.

We look forward to sharing with you the many talented pre-recorded performances by amateur pianists in both Junior and Adult categories, and listening to the exciting and enlightening adjudicators’ comments on the following dates:

Sunday 21st November 2021 – Junior Piano Categories 

BST 10 – 1 PM

Worldwide Contemporary and Jazz Music, Grade Repertoire and Short Recital Classes

Principal Adjudicator Marcel Zidani  

Sunday 28th November 2021 – Junior Piano Categories 

BST 10 – 12.15 PM

Free Choice and Short Recital Classes

Principal Adjudicator Marina Petrov

Sunday 5th December 2021 – Adult Piano Categories 

BST 10 – 12 PM

Traditional Styles (Advanced) and Adult Piano Learners Classes

Principal Adjudicator Tau Wey


Anyone interested in joining us to watch and listen to these fantastic talented pianists as an independent viewer should contact us via email to book a ticket at £10, including a ZOOM link for these events. One ticket covers people that can view competition from different devices.



In retrospect, AGMA was thrilled to launch the
earlier this year. 

The idea was to motivate and encourage students up to 18 years of age to develop their musical writing to a higher educational level and greater standard.

In addition, our panel found it very challenging to choose one winner amongst so many talented students, ranging in age from children to young adults. For this reason, distinct age categories will be introduced in future musicologist competitions.

We hope it may be of interest to you to read the YMC 2021 winner’s fascinating article Long Live Petruskawritten by Jason Yuan, 12 years old, which was published in our recent Around the Globe Music Magazine 2021, Vol. 4.

Furthermore, the jury was also very impressed with Pippa’s Theme anarticle by Grace Hall, 18 years old, awarding it to be highly commended and agreed it should be published in the AGMA newsletter. We hope that our audience will find this confidently and skilfully written work pleasurable to read!

Pippa’s Theme: An Exploration of Intimacy

Grace Hall, 18 years old

Describing his work as “assessable music for complex emotions”, Joep Beving seeks to capture humanity’s relationship with reality through three albums: Solipsism, Prehension and Henosis. Beving’s musical journey began at an early age, though like with many musicians it was temporarily halted when he entered the working world. His reconnection with music came when he inherited his grandmother’s Schimmel piano in 2009 and his musical style shifted from virtuosic to a simpler form of emotional expression. While Solipsism focuses on the relationship between the individual and the outside world, Prehension explores intimacy and the complexities of human connection. Then, from the individual to the group, Beving takes one step further: the focus of the final album Henosis is on humanity’s relationship with the cosmos.

There are several musical features that define Beving’s style: the first is that generally his music is not technically complex. Throughout his music one gets the sense that his focus is on quality rather than quantity: if he can achieve a desired effect through simplicity, then he will do so with little desire to write virtuosically. In this way his style reminds me of the French composer Erik Satie and, like Satie, his music is repetitive,1 not only within individual pieces but throughout his albums. For example, he will often repeat certain motifs within and between songs, resulting in his pieces flowing into one another. Within this repetition, however, there is flexibility: rubato is a given in the majority of his pieces, and subtle changes in dynamics are frequent. It is also worth noting that Beving plays around with the timbre of his instrument: he always plays with the piano lid up, and often the piano is tuned slightly below the conventional A = 440Hz, creating a sound unique to Beving’s music.

The piece I will be discussing is taken from his second album, Prehension. In accordance with the album’s theme, the piece is dedicated to another person through its title: Pippa’s Theme. I chose to discuss this piece because its melodic contours and harmonic progressions are not only enjoyable to play, but because its music resonates with a part of me that perhaps, like Beving, longs for intimacy. Pippa’s Theme is quietly relentless: there are no rests, and the pervasive arpeggiated figure in the left hand is in constant motion. The result of this unending repetition is that the listener receives no respite from the music’s melancholic feel. Though repetition is abundant, there is some contrast to be found. The final section begins not in F minor but in F major, immediately alerting the ear that something new is taking place. As the section progresses, the notes move lower and lower down the piano, before rising with a slow and then faster scale in the melody, peaking with an ornamental mordant. This melodic movement feels as if we are following the character through their emotive state, drawing on strength or anger in the lower notes and shifting to elation in the higher notes, emphasised by the giggling-like mordant.

Development is a key component of this piece. The central theme returns frequently, but with subtle changes. At the beginning of the piece, the melody begins on a C, harmonised by the second inversion of F minor, creating a subdued and elusive tone. Then, the theme’s nature changes as more of the piano’s range is used. The melody opens out to a G and the accompaniment moves down to the tonic F, creating a fuller, more expansive sound. Similar variation is found in the latter half of the piece, where twice the melody rises in a scale instead of following its usual arc. These melodic flourishes are extremely enjoyable to play, adding enough variety to keep the listener engaged while still remaining grounded in the central theme.

One of Pippa’s Theme’s most striking features, encompassing a large part of why I love the piece, is its harmonic progression. The main theme is built around an unusual chord progression: tonic to submediant. These chords contrast beautifully, and though the submediant chord within the key of F minor is Db major, the chord retains a wistful dissonance through its G natural passing notes. Every second bar, the opening notes of the melody ring out like bells, cutting through the ever-moving accompaniment. When these notes are paired with the left hand, they become poignantly dissonant, for example a G in the melody will be played alongside either an F or a Db in the accompaniment. It is clear Beving favours tonal and semi-tonal chordal movement, attributing to the piece’s unending sense of flow. In the latter half of the central theme for example, the chords rise from F minor to G minor to Ab major to Bb minor, climbing the F minor scale. Through this ascending movement, Beving builds intensity which is then resolved by perhaps my favourite harmonic movement of the piece: Ab major falls to a warm G major which moves down another semitone to rest on the dramatic Neapolitan chord, Gb major. There is no perfect cadence to conventionally resolve this chord: Beving unabashedly moves straight back to F minor. In fact, Beving ends the piece with this chord, choosing not to return to F minor but instead finishing with a ringing G in the right hand, which in its sparseness sounds to me like a bird call gone unanswered.

Through its unique harmonic progression, lilting rhythms and resonant melody, Pippa’s Theme has become one of my favourite pieces both to play and listen to. In the context of his wider discography, the piece exemplifies Beving’s style, remaining simplistically elegant while decorated with enough flourish to captivate the listener’s attention. Beving’s compositional style harks back to pre-modernist traditions, where music was written for the enjoyment of the player, keeping the performer’s and listener’s interests in mind as well as the composer’s. Above all else, I believe Beving shows that music does not have to be complicated to be beautiful: the intimacy of his music proves this.

In “Erik Satie and the Music of Irony,” R. D. Chennevière and F. H. Martens write that “One feels that [Erik Satie’s] sense of hearing, his nerves, vibrate sensuously, lulled by these infinite undulations [referring to chordal repetitions] of sound.” The same is, I believe, true of Beving’s music.


Rudhyar D. Chennevière and Frederick H. Martens, “Erik Satie and the Music of Irony”, The Musical Quarterly, Vol. 5, No. 4 Oxford University Press, Oct. 1919.

Grace Hall engages with music at a high standard both on an academic and extracurricular level. She joined Sevenoaks School in 2016 with the top academic scholarship and a music exhibition. While at Sevenoaks, Grace participated in numerous choirs and chamber groups, with her primary instrument being singing. In 2019, she achieved 10 GCSEs at grade 9 and A* level, with one of her subjects being Music. In sixth form, Grace studied Music as part of the International Baccalaureate Diploma, along with English, Latin, Philosophy, Biology and Maths. She achieved top grades in all her subjects including a score of 98% in Music. Outside of school, Grace sings in the National Youth Choir of Great Britain and was a soloist on their Summer 2021 residential course. Her most recent achievement has been achieving a distinction in her ABRSM singing diploma, which she sat in July. In the future, Grace hopes to study music at Oxford University.

Newsletter October 2021 (2)

There is less than a week to apply to participate in the
Junior Pianists Category
for the 
Around the Globe – 8th Annual Piano Competition Online 2021.

It is open to both amateur and professional pianists of various levels, any nationalities and with no age restriction. Our Syllabus offers to choose from a more expansive repertoire of pianistic music styles, from traditional to contemporary, including jazz as well as different lengths of the performance. 

Our competition aims to encourage pianists to develop recording performance skills which are so on-trend, as many worldwide music examinations boards these days hold way exams online including diplomas. In addition, explore our programme’s list of contemporary classical and jazz composers, which many pieces are not on the grade exams repertoires. We hope a selection of these modern pieces can fit any music taste and pianistic level!   

Deadline for submission of applications:
· Junior participants – 5th November 2021
· Adult participants – 15th November 2021

The competition consists of two rounds. The Second-Round winners’ recorded performances will be displayed on the Zoom Online Social Platform along with the Adjudicator’s live comments and awards presentation. In addition, all contestants will receive a Certificate of Performance Achievement.

The Second-Round pre-recorded performances with live Adjudicator’s comments will be held on Zoom from 10 AM – 5 PM on the following dates:
Sunday 21st & 28th November 2021 – Junior categories
Sunday 5th December 2021 – Adult categories




Info on the Entries, Regulations and Recordings




Marcel Zidani is a pianist, author, teacher, and composer. He studied piano under the direction of Royal Academy Vice-Principal Mark Racz and, more recently, under the guidance of Professor Philip Martin, studying both piano and composition. Leslie Howard nominated Marcel’s composition Butterflies from his Life Cycle CD for the British Composer Awards. His music is frequently played on radio stations including BBC Radio Hereford and Worcester, Radio Bristol, Somerset, Wiltshire and more. Radio 3 shows have described Marcel as a ‘Musical Gem’ and likened his compositional style to Chopin, Liszt and Satie. He is the author of Hey Presto, a unique and fully comprehensive piano method for older beginners and adults, focusing on the sustain pedal’s early use…

Tau Wey enjoys performing unusual yet captivating music. His eclectic repertoire is as likely to include fugues as folk music, sonatas as songs, and rondos as rags. The music he plays branches out into myriad directions, making connections to the sound worlds that people inhabit…After reading music at Cambridge, he studied with Yonty Solomon and Douglas Finch at Trinity Laban Conservatoire of Music and Dance, and with Jacob Lateiner at Mannes College of Music in New York…Tau is Head of Keyboard at Sevenoaks School, as well as teaching at Eltham College and at the Kent International Piano Course.

Olga Dudnik MA studied at the Special Music School for Gifted Children in Ukraine, receiving the Gold Medal for Excellence and wining the Ukraine Piano Competition. She continued studies at the Guildhall School of Music & Drama in London and was awarded the Premier Prix at the completion, as well as 1st prize at the Arianne Katz and prizes in the Young Soloist of the Year and Hong Kong International Piano Competition. Olga made her Purcell Room and Wigmore Hall debuts with a BBC live broadcast and has appeared with numerous orchestras including London Philharmonic Orchestra at the Queen Elizabeth Hall. She joined the staff at the Guildhall School of Music and combines a teaching career with performing across Europe.

Marina Petrov MA is a classical pianist and piano pedagogue specialising in Prevention of Occupational Injuries in Pianists. In addition, she has contributed articles to EPTA and ISSTIP journals as well as holding seminars, masterclasses and workshops on related subjects at various universities and music colleges in London and Cork. Since settling in London in 1989, she performed solo recitals as well as chamber music and accompanying opera singers in major concert halls across the UK and Eastern Europe…The versatile Mrs Petrov is also Co-Founder and Managing Director of Around the Globe Music & Arts and AGPMF Piano Competition as well as Executive Editor of Around the Globe Music Magazine. As a child prodigy since the age of eight, she has won many national piano competitions in former Yugoslavia that followed by tours, media appearances, including TV and Radio national shows…

Maya Jordan MA, holds a Master’s Degree of Music Academy in Belgrade and a PG Certificate from the London College of Music. A winner of numerous prizes, she has performed throughout the former Yugoslavia, Italy, Cyprus, France, Germany and England and recorded for various Radio and TV programmes… Maya has been co-founder of the project ‘Sounds of the Balkans’ and Artistic Director of numerous events and projects, promoting Serbian culture and encouraging artists of different origins to work together… At present Maya is a Secretary of The Serbian Council of Great Britain and has been involved in numerous charity projects (including ‘Magic & Toys’, ‘Ada Art’) in aid of Serbian people and children. She is also a Programme Coordinator of the Serbian Month in Great Britain and co-founder /Arts Director of the Around the Globe Music & Arts.

More about our Jury Panel:

Newsletter October 2021


We are happy to announce that today
the Around the Globe Piano Music Festival website
was updated for the


which is open to amateur and professional pianists
of various levels and without age restriction.

We look forward to receiving entries for both the Junior and Adult piano categories, with so many classes to choose from including traditional, jazz and contemporary classical musical styles, as well as the various grade repertories. In addition, we would like to encourage participants to make multiple entries for different piano categories in order to explore a wider repertoire.

2021 Around the Globe Online Piano Competition will consist of TWO rounds. In the First Round, competitors will submit unedited pre-recorded performances, which our panel of distinguished music Jurors will adjudicate. Only contestants with a Merit Mark will advance to the Second Round, in which their recorded performance will be displayed on the Zoom Online Social Platform along with the Adjudicator’s live comments and the presentation of awards. In addition, all contestants will receive a Certificate of Performance Achievement.

The Second Round pre-recorded performances with live Adjudicator’s comments will be held on Zoom from 10 AM – 5 PM on the following dates:

Sunday 21st & 28th November 2021 – Junior categories

Sunday 5th December 2021 – Adult categories

Deadline for submission of applications:
· Junior participants – 5th November 2021
· Adult participants – 15th November 2021

Notes for Entrants 

How to enter?

To enter the First Round of 2021 Around the Globe Online Piano Competition, you will need to fill in and send us the form available online, with the details of the entrance fees. After completing and sending the form to include your chosen category or class(es), we will notify you about the success of your application, with a request to send us an unedited and uninterrupted audio-visual file of your performance. You can make payment upon receiving our notification by email, which will contain our bank details and other relevant info.
Please remember that the file must be submitted as one continuous performance for each class separately.
All the files are to be sent to the organizer at (larger files can be sent free via WeTransfer).

· For more updates on the Entries and Recordings

· To apply online


Please note that AGPMF Syllabus Repertoire List 2021 for the classes SET PIECES for piano solo and duets for 4 hands has been updated for the Jazz Piano and Contemporary Worldwide Music in various categories.

In Jazz categories for Junior and Adult pianists, we are introducing new Connections series and other piano books by Christopher Norton. Thepiano work Il Circo by the late Isidora Žebeljan is presented in the Contemporary Worldwide Music for the Adult Advanced category as well as the new opus By the Sea by Vladimir Titov.

There is an introduction to the new music of Marcel Zidani (The Misty Vale from Away from the Grade), Svetlana Titova (About You) and piano duets for 4 hands from the Delightfully Easy Piano Duets Book 2 by Rosamund Conrad in Junior and Adult Piano Learners categories.

· For more info on the FULL SYLLABUS, FEES AND PRIZES FOR 2021:

· For music scores and downloads:

· For more info on our Jury Panel:

For more in-depth analysis about modern styles, composers and their new works and so much more, read our


Around the Globe Music & Arts would like to thank
all our sponsors and followers
for the encouragement and support of our work,
including the forthcoming online piano competition!

Newsletter August 2021

We are happy to inform you that our new


Vol.4 Summer 2021

has been published
(printed version)


In this issue, under the new section of Contemporary Women Composers Worldwide, you can enjoy reading about female composers and their works, beginning with Monica Cardenas and the late Isidora Žebeljan. We are also proud to include an extract from the virtual interview About the Musical Map of Serbia  by Vera Milankovi,an AGMA event led by Maya Jordan and recorded in January 2021.

There are many inspiring articles written by composers themselves; under the Jazz Piano section Christopher Norton discusses Connections and How the Pandemic has affected (at least) one composer,  while Tim Richards introduces his popular piano book Beginning Jazz Piano. We are thrilled that for the first time since producing the Around the Globe Music Magazine we are able to publish a music score, the Straight Eight by Tim Richards, with the permission of the author and Schott music. There is also an introduction to some exciting piano courses, including Away from the Grade with its appealing original music byMarcel Zidani for early levels and a Transform Your Practisevideo tutorial aimed at adult pianists of any level, created by GéNIA.

Under the Modern Styles sectionwe introduce you to the solo piano album Me and My Love on The Road to Honduras by the talented Andy Pavlov, as well as the inspiring music of the piano opus About Love and the Sea by Vladimir and Svetlana Titov, written in the new Inspirism style.

There are many educative, innovative and informative articles such as Musician’s Health, the Piano Yoga piano practice, and details of music festivals, including the newly-established Compose Yourself! an online Piano Composition Festival, organized by notable composers and educators Lindsey Berwin and Alison Mathews.
We hope that in this, our fourth volume, you will find interesting articles which will motivate you to explore diverse music styles from around the world, to investigate different piano methods and so much more!

You can order copies 
by contacting AGMA by emails

The price for the Around the Globe Music Magazine
Vol. 4 Summer 2021
 is £6.50
(+ postage and packing.)





for only £15.50 (+postage and packing).

*Please note that from the end of September 2021 all 4 volumes will be available on sale via Amazon and at Schott Music shop, 48 Great Marlborough St, London W1F 7BB.

Extracts from the articles from the Around the Globe Music Magazine Vol. 4, Summer 2021

The Piano-Yoga® Holistic Approach to the Piano Practice:
7 Simple Steps


“In Piano-Yoga® we believe that creating an optimal environment which promotes the student’s sense of well-being is the best approach to learning the piano. When we feel relaxed, think positively, and our concentration is at its peak, we can learn more quickly and efficiently. In this state, learning can even feel like having fun, where studying and mastering something new become an effortless and pleasurable experience.

It is true that some of the best educational systems (like the Russian school, for example) are based on a strict, disciplined approach to learning, where competition is the upmost motivation for success and the strongest students are stretched to the maximum. Such systems have produced amazing results, but the emotionally weakest often give up, unable to progress and develop.

Whilst Piano-Yoga® aims to help students to perfect their technique, this is only a tool. Our foremost motivation is to make the piano playing process as enjoyable and pleasurable as possible within the wider framework of the student’s lifestyle. In order to do this, I not only instruct students specifically in the Piano-Yoga® technique, but I also show them how to efficiently schedule their practice sessions and how to take care of their health and body in order to get the most out of their practice and cultivate a positive mindset.

I like to address this issue by using ideas taken from ancient Indian Ayurvedic philosophy. This philosophy is the traditional Hindu system of medicine and is based on the idea of bringing balance to the body using diet, herbal treatments, yogic postures, and breathing…”


Described by The Times as ‘an outstanding musician’, GéNIA has performed concerts in the UK, Europe and the USA. As an educator she has more than 20 years of teaching with masterclasses and lectures which include Trinity College of Music, Dartington and COMA Summer Schools, De Montfort University (Leicester), Lewis University (Peoria, USA), Californian Association of Piano Teachers (CAPMT) in Los-Angeles and EPTA (European Piano Teachers Association) International Conferences. GéNIA is regularly invited to become involved in numerous educational projects; she is currently on the Board of Directors of “Mysuka”, a Californian Children’s Choir, USA. Her numerous releases are available on digital platforms including Apple Music, Spotify, Amazon and many others… 



Created by GéNIA for intermediate to advanced pianists to maximise their home practice.


“One of the most commonly asked questions amongst musicians is: ‘What can I do to practice more efficiently?’  We often struggle to fulfil our potential, and believe we cannot do something, not because we unable to do it, but because we do not know how.  GéNIA’s video tutorial is an 11 Stage Guide for intermediate to advanced pianists designed to teach you how to structure your home practice in the most efficient way possible. 

It includes practical piano and musical advice, physical (yogic) exercises, a guide to the musical learning process, meditations and breathing exercises.  Each stage lasts between 15 – 30 minutes, so you can start implementing the strategies straight away.  You will get access to the online video tutorial for a period of one year, which you can watch in any place and at any time.

The course is based on GéNIA’s personal experience as a concert pianist, educator and yoga teacher. The number of aspects of the course are centred around NLP (neuro-linguistic) training and are also based on GéNIA’s personal experience.  If you follow the stages of this course carefully, in 6 months you will be able to practice much more productively and efficiently. As a result, you can learn repertoire much faster, and the process of practising will become more enjoyable…”


Follow the steps below:

Step 1: Click on to be taken to the tutorial posted on Vimeo.

Step 2: Press the ‘Rent’ button in order to access the course.

Step 3:  Enter your details, and if you are not a member of Vimeo, it will ask you to join in order to view the material. You will need to verify your email address.

 Step 4: Enter your payment details.

Step 5: Once you receive conformation from Vimeo, you will be granted access to the tutorial, which you can watch on Vimeo. The app is available on all mobile devices (as well as on computers) and you can watch this tutorial on your phone or iPad off-line at any time.

Step 6: GéNIA recommends that you listen to the tutorial in its entirety and then go back and listen to each stage 3-4 times, pausing to complete the accompanying exercises.


Receive individual feedback from GéNIA!

Stage One: play up to ten minutes of music and receive fifteen minutes of feedback *for free* before starting on the course

Stage Two: play up to fifteen minutes of music and receive twenty minutes of feedback for £50.00, to be recorded after completing Stage Six

Stage Three: play up to twenty minutes of music and receive thirty minutes of feedback for £80.00, to be recorded after completing the entire video course

The response will come within 21 days.


For further info go to




Me and My Love on The Road to Honduras

“Andy Pavlov’s first solo album, Me and My Love on the Road to Honduras – The Minutes After Infinity for Piano Soloreleased by Universal Music Serbia, was inspired by the depth and mystery of a period in his life when everything he thought he knew evaporated; and when a great love, a home, and an understanding of the self, emerged from the fog. With its unexpected layers, homages to Zbigniew Preisner, Franz Liszt, Erik Satie and strongly influenced by Slavic musical heritage, Andy Pavlov masterfully creates an indigenous world in which love, energy and purpose, as well as music, are as important as breathing.

At the age of 37 he experienced an emotional crisis; everything he had believed in up until that point ceased to exist. And then, unexpectedly, one woman and one piano appeared…”


The album is available now worldwide in digital form and on vinyl:


Andy Pavlov is a South Slavic pianist and composer born in Belgrade, whose music traverses styles and borders, reflecting his deep-rooted identity of ‘statelessness’. A fascination for the piano as an object that holds an infinite variety of sounds and styles led him from formal training in classical music to an exploration of contemporary music and conceptual art. Taking inspiration from musicians such as John Cage, Thelonious Monk, Gurdjieff/De Hartmann, Ruben Gonzales and Simeon ten Holt, he has developed a style uniquely his own, merging the sensitivity of classical music with minimalism, always following the bold desire to experiment; creating music for the heart and soul.

Behind the Andy Pavlov project stands Andrija Pavlovi, an international performer who has released 7 albums with the award-winning piano duo, LP Duo (, formed in 2004 with pianist Sonja Lonar.

With the collaboration ‘LP Duo’, he has won more than 30 international prizes, including ‘the best duo on the Globe’ Miami Dranoff Two Piano Competition 2008. Furthermore, they have performed at renowned venues, including Carnegie Hall New York, Kennedy Center Washington, Royal Danish Theater Copenhagen, NUS University Singapore, Meguro Persimmon Hall Tokyo and the Music in PyeongChang festival in South Korea.

He is also well known for retro-futuristic music projects Ola Horhe and LP Elektro, and is an Associate Professor at the Department of Scenic Design, Faculty of Technical Sciences, Novi Sad, Serbia.

Newsletter July 2021


We are pleased to announce that
AGMA will be hosting the Around the Globe Piano Music Festival 2021


The Second-Round pre-recordedperformances with live Adjudicator’s comments
will be held on Zoom from 10 AM – 5 PM on the following dates:

Junior categories

Sunday 21st & 28th November 2021 

Adult categories

Sunday 5th December 2021  

This annual piano competition is open to Junior and Adult pianists of various levels, both amateur and professional. It applies to all nationalities and of any age group. As well as traditional and classical music, the competition offers an exclusive syllabus of piano styles, including contemporary and jazz piano within global/regional categories. One of the main focuses of this project is to promote contemporary piano composers from all around the world.

Deadline for submission of applications 

Junior participants– 5th November 2021

Adult participants – 15th November 2021        

The entries and other updates will be available online on our website from September 2021.

For more info, subscribe to our Newsletters

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This year we will be revising AGPMF Syllabus Repertoire List, including Jazz Piano and Contemporary Worldwide Music in various categories. In addition, we would like to introduce the contemporary classical music style of the late Isidora Žebeljan, including her piano music and the jazz piano styles of the Connections series by Christopher Norton.


Extracts from articles in the forthcoming 
Around the Globe Music Magazine
Vol. 4, Summer 2021


‘Isidora Žebeljan (1967–2020) was one of the most outstanding and internationally acclaimed Serbian composers and musical conductors. She leaves behind many significant works, including operas, orchestral and chamber works, vocal and piano compositions, and numerous incidental music and film scores.
Žebeljan first attracted international acclaim with her opera Zora D., commissioned by the Genesis Foundation in London. The production was premièred in Amsterdam in 2003, and in the same year, it was chosen to open the 50th season of the Vienna Chamber Opera (Wiener Kammeroper)…
Žebeljan composed for some of the most renowned music ensembles, such as the Wiener Symphoniker, Academy of St Martin in the Fields, Brodsky Quartet, Netherlands Chamber Choir, and London Brass. In addition, Isidora Žebeljan also regularly appeared as a performer (conductor and pianist) of her works as well as others, mainly Serbian composers. She conducted concerts in London with The Academy of St Martin in the Fields and in Amsterdam at the Muziekgebouw and performed as a pianist with the world-famous Brodsky Quartet…


Although her piano opus was not as large, her piano works have exceptional artistic and pianistic values.  The most remarkable and frequently performed of her piano pieces include Il Circo, Umbra and Dark Velvet.

Dark Velvet
Notable Serbian musician and musicologist Borislav Čičovački writes: “Dark Velvet, a concert miniature for piano, originated as part of incidental music written for the play The Square of Heroes by Thomas Bernhard, directed by Dejan Mijač at Atelier 212 in Belgrade. This composition, bearing the subtitle In the Memory of Gustav Mahler, represents a homage to the magnificent music and culture of central Europe…

Il Circo
According to B. Čičovački, piano sketch II Circo “represents a sonic experience of the mechanical piano accompanying or provides background to a scene from a circus show. Although the intermittent melody is passionate, full of abrupt decelerations and moments of tense expectations, nostalgic and enchanting, constantly dashing towards its climax, its essential character is, paradoxically, reflected in the prescribed manner of playing an imaginary mechanical instrument, as though it were composed for a pianola…’

Please note that piano compositions II Circo will be on the repertoire list for both Junior and Adult piano categories at the 8th Piano Competition, Around the Globe Piano Music Festival 2021.

For any further enquiries about Žebeljan’s piano music, contact AGMA at 

Listen to:
Dark Velvet:
Il Circo:
Purchase Il Circo:–i-zebeljan-il-circo


Christopher Norton

‘Christopher Norton’s  Connections for Piano comprises 11 graded collections of pieces in popular styles, as well as a Preparatory duets book and two further books of easy-to-intermediate duets.

Connections are perfect for students and teachers looking for a sound pedagogical alternative to classical piano literature. The pieces are very precisely notated, with detailed fingering, pedalling and articulation, but the sounds of the pieces are in a wide range of authentically contemporary popular styles and instantly appealing to both children and adults.

The composer of the best-selling Microjazz series has created over 200 new pieces for the Connections series. The pieces correspond level-wise to many of the world’s examination boards so that students from many countries can enjoy and benefit from the books. Pieces from the Connections series are a major feature of the Royal Conservatory examination syllabus in Canada, as well as leading Australian syllabuses.

The books are progressive, moving from Elementary (Connections Preparatory) to Early Advanced (Connections 10), and each book showcases an amazing variety of styles – including traditional jazz, rock, blues, Latin, swing, country, funk, and reggae. The difficulty level remains roughly the same throughout each book, i.e., they are not levelled within the book…

Christopher Norton has also created the first 3 volumes of a series of teacher accompaniments books, initially for Connections 1-3. These have easy-to-play teacher parts that work with both the solo part and the backing track, creating wonderful opportunities for ensemble playing.

Connections series resonates with students of all ages by giving them relevant, modern music that they all will want to play.’

Please note that piano pieces from the Connections series will be on the repertoire list for Jazz Piano – Set Up pieces of the Around the Globe Piano Music Festival 2021, 8th Annual Piano Competition. 
Junior classes: Trumpet Blues (Connections 1) and Open Window (Connections 4)
Adult classes: Scamp (Connections 6) and Mambo (Latin Preludes Collection)

Listen and follow:

Newsletter June 2021

We are looking forward to hosting the
Online via Zoom 
featuring the winners of
Around the Globe Piano Competitions of 2019 and 2020
with pianists from all categories

Sunday 27th June 2021
Time: 11.00 – 13.00 BST    Break:  12.15 – 12.30 BST
Where:  Zoom

There will be numerous performances of our amazingly talented Junior and Adult pianists at various levels. The repertoire will include many pieces in traditional styles as well as contemporary music by composers Melanie Spanswick, Graham Lynch and the Final Fantasy 12 Piano Collections album by Hitoshi Sakamoto, arr. by Casey Ormond.

Join us and enjoy this brilliant event!

Extracts from articles in the forthcoming 
Around the Globe Music Magazine
Vol. 4, Summer 2021

Modern piano styles

About Love and the Sea

Svetlana & Vladimir Titov

“Presentation of the piano work About You by Svetlana Titova and the piano cycle By the Sea by Vladimir Titov. With the appearance of these piano pieces, the door to the world of our music called ‘Inspirism’ has opened. About You is the piece that represents the colours of early spring, when you notice changes in subtle hints of nature . . .
The sea is always different and unexpectedly magnificent! You never know in what guise you will see it next time. The sea always surprises!

By the Sea Op.10 piano cycle includes two pieces: the Poem You & I, No. 1, and Etude In the Waves, No. 2.

You and I, are two halves of happiness, two souls with one dream, a magical land where joint contemplation of beauty multiplies beauty. You and I are infinite bliss . . .

About In the Waves:

Waves are born far beyond the horizon, from where a daring and reckless wind rushes over the endless sea expanses, revelling in their freedom! The waves shine quiveringly, swirling, foaming with pearl bubbles …”


About You:

By The Sea Op.10

Poem ‘You & I’, Op.10 No.1:

Etude ‘In the Waves’, Op. 10 No. 2:

Links to purchase scores:

Svetlana Titova –About You 

Vladimir Titov –Poem You & I, Op.10 No.1

Vladimir Titov – Etude ‘In the Waves’, Op. 10, No. 2

About the creators

Award-winning Russian piano composers Vladimir Titov & Svetlana Titova are the founders of the new style of the 21st century music called Inspirism.

For more info about the Titov’s and their works read Around the Globe Music Magazine Vol. 1-3, which FREE digital copies are available at
For printed copies (£5 each) contact the organisers at

Jazz Piano

Tim Richards

An Introduction to Swing, Blues, Latin & Funk

Part 1:
Everything You Need to Get Started
Schott Music ED 23374

“Since my two-volume method ‘Exploring Jazz Piano’ was published by Schott Music in 2005 I’ve been asked countless times whether it would be possible to produce something with a gentler learning curve, catering for the complete newcomer to jazz.

At last, this is that book!

If you have a basic piano technique this will help you make the transition from reading sheet music to improvising creatively, and above all using your ears. It’s also a book you can use with a friend or teacher, who can accompany you by playing the written BASS LINES (given on a third stave), thereby making sure you keep good time and stay ‘in the groove’…

Beginning Jazz Piano draws on my long experience of teaching jazz, both privately and in classes, and I’ve tried to make it as easy as possible to get involved. In the first chapter you are coaxed into improvising over ONE chord only; the LISTENING section gives a list of tracks where you can hear this on recordings. Such a basic harmonic backdrop allows you to focus on other crucial elements such as melody, rhythm, phrasing, coordination and fingering. Every piece has a backing track to play along with if a friend or teacher is not around to play the given bass line.

The other innovative feature of Beginning Jazz Piano is the REPLAY files that are provided for each piece. Developed and hosted by, these scrolling music files are accessed online and allow you to slow down or loop sections of the pieces for practice purposes. I am sure this interactive component of the book will be popular, bearing in mind the increasing number of people who have turned to online learning during recent Lockdowns . . .”

About Tim Richards

Tim Richardsis a leading British jazz and blues pianist, educator and renowned contemporary author for jazz piano.

His fascinating piano pieces have featured in the programme listing of Around the Globe Piano Music Festival, in various Jazz Piano categories, since 2019.

For more info about the composer and his books read Around the Globe Music Magazine Vol. 2-3. FREE digital copies are available at . For printed copies (£5 each) contact the organisers at



Listen to Tim’s PODCASTS on famous jazz pianists at MORLEY RADIO: