Publications

The Art of Sight-Reading at the Piano

Prima Vista · A Complete Method

13 languages as e-book · 8 also on Kindle and in print

See the bookGoogle Play

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1. Preface: Sight-reading is not a talent
2. How to use this book
3. The six pillars of the method
4. Chapter 1: Saccades, fixations and the eye-hand span
5. Chapter 2: Audiation — the inner ear as a prediction engine
6. Chapter 3: Meter, subdivision and polyrhythm
7. Chapter 4: Syncopation, metric modulation and rhythmic chunking
8. Chapter 5: Key signatures, scale geometry and keyboard topography
9. Chapter 6: Proprioception and blind-reading
10. Chapter 7: Anticipatory fingering and hand mechanics
11. Chapter 8: Dense chromaticism, double accidentals and modulation
12. Chapter 9: Chord geometry and visual harmonic recognition
13. Chapter 10: Linear patterns — scales, arpeggios and Alberti bass
14. Chapter 11: Ledger lines and the benchmark anchor system
15. Chapter 12: Polyphony, voice separation and dynamic layering
16. Chapter 13: Stylistic decoding
17. Chapter 14: Technical risk management and tempo selection
18. Chapter 15: Pre-play — the ten-second mental protocol
19. Chapter 16: Live execution, error-burying and buffer control
20. Chapter 17: The Farjadi 365-day curriculum
21. Farjadi Progression System™
22. Appendix A · Diagnostic troubleshooting table
23. Appendix B · Glossary of sight-reading terminology
24. Appendix C · Assessment rubric and testing protocol
25. Appendix D · Photocopiable worksheets
26. Appendix E · Graded repertoire list, levels 1–8
27. Appendix F · Graded examinations — step by step
28. About FARJADI PIANO SCHOOL

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The Art of Memorisation at the Piano

How to memorise piano music

English · Danish · e-book

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1. Preface: Playing from memory is not a gift
2. How to use this book
3. The five memories: the foundation of the method
4. Chapter 1: The five memories and the redundancy principle
5. Chapter 2: Why memory fails on stage
6. Chapter 3: Working memory, consolidation and the forgetting curve
7. Chapter 4: Chunking — from single notes to meaningful units
8. Chapter 5: Harmonic and melodic patterns as vocabulary
9. Chapter 6: The architecture of form — phrases, sequences and repeats
10. Chapter 7: Visual pattern recognition in the score
11. Chapter 8: The myth and the reality of photographic memory
12. Chapter 9: Photographing the page — the concrete technique
13. Chapter 10: The map of the keyboard — spatial memory
14. Chapter 11: Mental practice — playing with your eyes closed
15. Chapter 12: Harmonic analysis as a memory anchor
16. Chapter 13: Formal analysis — the skeleton of the piece
17. Chapter 14: The bubble map — the memory map of the piece
18. Chapter 15: Verbal encoding — naming and narrating
19. Chapter 16: Audiation — the inner ear
20. Chapter 17: Motor memory built correctly
21. Chapter 18: Farjadi Memory Progression — encoding, consolidation, retrieval
22. Chapter 19: The stock progressions — chord successions your ear already knows
23. Chapter 20: Music without functional harmony
24. Chapter 21: Counterpoint — when the voices must be remembered separately
25. Chapter 22: Remembering together with others
26. Chapter 23: The three seconds after a blackout
27. Chapter 24: Coming back — the piece you knew a year ago
28. Chapter 25: How much can you keep alive?
29. Chapter 26: Shadow study — reading the piece without having it in front of you
30. Farjadi Memorisation Protocols
31. Appendix A · Diagnostic: which memory is failing?
32. Appendix B · Memorisation checklist before the stage
33. Appendix C · Graded repertoire by memorisation difficulty
34. Appendix D · Photocopiable worksheets
35. About the author

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DanishEnglish

When the Music Falls Silent

On the emptiness after the concert, the desire that fades, and the way back to the piano

English · Danish · e-book

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1. Preface: The silence no one warns you about
2. How to read this book
3. Chapter 1: When the music falls silent
4. Chapter 2: The strange emptiness after the concert
5. Chapter 3: When the goal has been reached
6. Chapter 4: When discipline turns into compulsion
7. Chapter 5: The paradox — desire and guilt
8. Chapter 6: Burning a piece
9. Chapter 7: When is a piece finished?
10. Chapter 8: The art of letting music rest
11. Chapter 9: When you come back
12. Chapter 10: The Return — coming back
13. Chapter 11: Play something you are not supposed to master
14. Chapter 12: The small session — XS to XL
15. Chapter 13: Motivation does not always come first
16. Chapter 14: The musician needs a life too
17. Chapter 15: The trap of perfection
18. Chapter 16: Look back — the credit you never give yourself
19. Chapter 17: When the concert becomes a beginning
20. Chapter 18: Your musical energy
21. Chapter 19: The Farjadi principle
22. Chapter 20: A new way to practise
23. Chapter 21: When the desire returns
24. Chapter 22: A musical life in balance
25. Chapter 23: To the teacher
26. Chapter 24: To the adult pianist
27. Chapter 25: To the professional musician
28. Chapter 26: Move the piece — and hear what you could not hear
29. Chapter 27: To the one who stopped
30. Chapter 28: When people stop asking
31. Chapter 29: When there is nothing to repair
32. Chapter 30: The Return — one note at a time
33. Epilogue: The music must be able to survive you
34. One last exercise
35. About FARJADI PIANO SCHOOL
36. About the author

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DanishEnglish

Solresol

The Language You Can Play

English · Danish · e-book

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1. Welcome
2. Chapter 1 · The Man Who Wanted the World to Sing Together
3. Chapter 2 · The Seven Syllables — a Whole Language in One Scale
4. Chapter 3 · Four Ways to Speak
5. Chapter 4 · Sing the Language — Solfège, Ear Training and Hand Signs
6. Chapter 5 · Your First Vocabulary
7. Chapter 6 · The Grammar — Simpler Than You Think
8. Chapter 7 · Dynamics and Contrasts — the Feelings of the Language
9. Chapter 8 · Play the Language — Twelve Little Pieces
10. Chapter 9 · Exercises — Decode and Translate
11. Chapter 10 · Write Your First Message in Notes
12. Glossary
13. Answer Key
14. Appendix A · Quick Reference
15. Appendix B · Thirty Days with Solresol
16. About the Author

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Behind the Keys

Joy, discipline and balance as a pianist

Danish edition · original title: Bag Tangenterne · e-book

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See contents (Danish)

1. Forord: Dagen efter
2. Sådan bruger du bogen
3. Den kunstneriske cyklus: bogens fundament
4. Kapitel 1: Den usynlige tomhed efter koncerten
5. Kapitel 2: Hjernens fordøjelsesfase
6. Kapitel 3: Genrejsningen — de fjorten dage tilbage til klaveret
7. Kapitel 4: Fokus under præstation — bagspejlet og bjergtoppen
8. Kapitel 5: Fejlens plads og perfektionismens pris
9. Kapitel 6: Repertoirets livscyklus — den grønne banan
10. Kapitel 7: Sinusbølgen — repertoirets fire faser
11. Kapitel 8: Hverdagens disciplin — minimumsrutinen
12. Kapitel 9: Den fysiske pianist — hænder, krop og søvn
13. Kapitel 10: Din digitale sparebøsse
14. Kapitel 11: Undervisning som kunstnerisk spejl
15. Kapitel 12: Inspiration og det persiske ordsprog
16. Kapitel 13: Øverummets ensomhed og det kollegiale fællesskab
17. Kapitel 14: Tid, økonomi og et kunstnerliv der kan bæres
18. Kapitel 15: Årshjulet — sæsonen planlagt med vilje
19. Kapitel 16: Glæden — grunden til at du begyndte
20. Farjadi Balanceprotokoller
21. Appendiks A · Diagnostisk: hvad mangler du lige nu?
22. Appendiks B · Fjorten dage efter koncerten
23. Appendiks C · Ugentlig øve- og mentaldagbog
24. Appendiks D · Repertoirets modningsskema
25. Appendiks E · Årshjul og arbejdsark
26. Om FARJADI PIANO SCHOOL
27. Om forfatteren

The Intuitive Pianist

A series in six volumes

Six short books on the body, the sound and the mind at the piano — from the moment before the first note to meeting the audience.

Volume 1

The State Before the Note

Google Play

Contents

1. Preface: The silence before the note
2. How to use this book
3. The series: six volumes, one purpose
4. Chapter 1: Hours are not work
5. Chapter 2: When the sound turns hard and you do not know why
6. Chapter 3: Desire as information
7. Chapter 4: The unconscious first touch
8. Chapter 5: Grounding — the feet, the sit bones, the spine
9. Chapter 6: Square breathing
10. Chapter 7: The physical anchor and the intention for the day
11. Chapter 8: The protocol in practice — 3, 5 and 20 minutes
12. Chapter 9: The note must be found before it is played
13. Chapter 10: The three images
14. Chapter 11: The activation touch
15. Chapter 12: The resonance as a listening exercise
16. Chapter 13: The quiet morning hour
17. Chapter 14: What the night does to the day’s work
18. Chapter 15: The closing protocol
19. Chapter 16: The day when there is no time
20. Chapter 17: When you are interrupted
21. Chapter 18: The piano that stands in the living room
22. Chapter 19: The warm-up — what it is actually for
23. Chapter 20: After a break from the instrument
24. Chapter 21: When the concentration does not come
25. Chapter 22: Practising in the evening
26. Chapter 23: Listening as work
27. Chapter 24: To the teacher
28. Chapter 25: Silence as material
29. Chapter 26: The instrument you have
30. Chapter 27: Working without an instrument
31. Chapter 28: When you are your own teacher
32. Chapter 29: What the protocol cannot do
33. The starting protocol in three sizes: XS, S and M
34. The quick card: three minutes from everyday life to sound
35. About FARJADI PIANO SCHOOL
36. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

Volume 2

The Freedom of the Body

Google Play

Contents

1. Preface: What you hold on to without knowing
2. How to use this book
3. Chapter 1: Unnecessary tension
4. Chapter 2: The feet as foundation
5. Chapter 3: The neck, the back and the balance of the head
6. Chapter 4: Shoulders and arms that hang freely
7. Chapter 5: The note comes from the arm, not from the finger
8. Chapter 6: The springing wrist
9. Chapter 7: The walk of the weight — legato as transferred gravity
10. Chapter 8: What tension does to the sound
11. Chapter 9: The micro-pause at the difficult place
12. Chapter 10: The release — five minutes without an instrument
13. Chapter 11: Silent overwriting
14. Chapter 12: The five criteria
15. Chapter 13: The hearing test — warm against cold sound
16. Chapter 14: Octaves without holding on
17. Chapter 15: The leap that is not to be hit
18. Chapter 16: Fast runs and the hidden tension
19. Chapter 17: Chords and the fall of the arm
20. Chapter 18: The thumb
21. Chapter 19: The place where you always tighten
22. Chapter 20: The breaks in practice
23. Chapter 21: When it hurts
24. Chapter 22: Cold hands
25. Chapter 23: The small hand
26. Chapter 24: The bench, the pedal and the balance
27. Chapter 25: To the teacher — seeing the tension
28. Chapter 26: The body has to be warmed up too
29. Chapter 27: The body over a musical life
30. Chapter 28: The finger movement — how little it takes
31. Chapter 29: The left hand
32. Chapter 30: The trill and the small movements
33. Chapter 31: The tension that comes from outside
34. The body card: one page at the piano
35. About FARJADI PIANO SCHOOL
36. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

Volume 3

The Anatomy of Sound

Google Play

Contents

1. Preface: The same piano, ten different sounds
2. How to use this book
3. Chapter 1: Ten fingers, ten brushes
4. Chapter 2: The contact point — the flat and the steep brush
5. Chapter 3: Tone colour is not volume
6. Chapter 4: Feeling the key
7. Chapter 5: Tonguing the key
8. Chapter 6: The deep key
9. Chapter 7: Eating the key
10. Chapter 8: Choosing the touch according to the music
11. Chapter 9: Escapement — where the key lets go
12. Chapter 10: The silent warm-up in four steps
13. Chapter 11: The weakest carrying note
14. Chapter 12: The ten-coloured touch
15. Chapter 13: Image, stroke, listening
16. Chapter 14: Bringing out the melody — one finger with weight
17. Chapter 15: The pedal as tone colour
18. Chapter 16: Counterpoint — four hands in two
19. Chapter 17: The singing line
20. Chapter 18: The accompaniment that must not take up room
21. Chapter 19: To the teacher — teaching sound
22. Chapter 20: Sound on an unfamiliar instrument
23. Chapter 21: The left pedal
24. Chapter 22: The middle pedal
25. Chapter 23: The different natures of the registers
26. Chapter 24: The sound ideals of the styles
27. Chapter 25: Dynamics as architecture
28. Chapter 26: Sound in the room
29. Chapter 27: Hearing your own sound
30. Chapter 28: Sound as a signature
31. Chapter 29: Legato without pedal
32. Chapter 30: The repeated note
33. Chapter 31: Sound in fast playing
34. Chapter 32: What the piano does by itself
35. The sound card: one page at the piano
36. About FARJADI PIANO SCHOOL
37. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

Volume 4

Presence in the Now

Google Play

Contents

1. Preface: The half second after a wrong note
2. How to use this book
3. Chapter 1: The flight from the sound you did not want
4. Chapter 2: The judge and the sculptor
5. Chapter 3: Artistic acceptance
6. Chapter 4: Reshape the Resonance
7. Chapter 5: Early timing
8. Chapter 6: Letting the note live
9. Chapter 7: Unhurried sight-reading — the eyes stay on the page
10. Chapter 8: Two bars ahead of the hand
11. Chapter 9: Rhythmic continuity before individual notes
12. Chapter 10: Anchor-based memorising — the four layers
13. Chapter 11: Presence is a task, not a mood
14. Chapter 12: The pulse that is not a metronome
15. Chapter 13: Rubato — time that borrows and pays back
16. Chapter 14: The rest
17. Chapter 15: Beginning and ending
18. Chapter 16: To the teacher — presence cannot be asked for
19. Chapter 17: What is it about?
20. Chapter 18: Character before detail
21. Chapter 19: Choosing and leaving out
22. Chapter 20: Recordings — poison and gift
23. Chapter 21: When you do not know what you want
24. Chapter 22: The piece you have played for too long
25. Chapter 23: Presence in practice
26. Chapter 24: Playing for yourself
27. Chapter 25: Presence and memory
28. Chapter 26: The days when it does not work
29. Chapter 27: The music is now
30. Chapter 28: Tempo — how to choose it
31. Chapter 29: The repeat — what happens the second time
32. Chapter 30: The ornaments
33. Chapter 31: When you play for someone you know
34. Chapter 32: Listening to rather than listening at
35. The presence card: one page at the piano
36. About FARJADI PIANO SCHOOL
37. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

Volume 5

The Listening Repertoire

Google Play

Contents

1. Preface: The piece that never gets finished
2. How to use this book
3. Chapter 1: Capacity is not the same as time
4. Chapter 2: The four zones
5. Chapter 3: Reading the zone — and getting it wrong
6. Chapter 4: Building
7. Chapter 5: Maturing
8. Chapter 6: Concert-ready
9. Chapter 7: The flow between the boxes
10. Chapter 8: How much can be kept alive?
11. Chapter 9: The maintenance that costs almost nothing
12. Chapter 10: Putting a work down
13. Chapter 11: The rhythm of the year
14. Chapter 12: The music has to come from a person
15. The repertoire card: one page at the piano
16. Chapter 13: Choosing a work
17. Chapter 14: Several works at once
18. Chapter 15: The work that never got finished
19. Chapter 16: The programme
20. Chapter 17: To the teacher — the pupil’s repertoire
21. Chapter 18: The week
22. Chapter 19: When life takes over
23. Chapter 20: Playing with others
24. Chapter 21: The goals that are not concerts
25. Chapter 22: The adult who begins
26. Chapter 23: The years
27. Chapter 24: Teaching as part of a musical life
28. Chapter 25: The editions
29. Chapter 26: Auditions and competitions
30. Chapter 27: Putting something out
31. Chapter 28: When you consider stopping
32. Chapter 29: Why you began
33. Chapter 30: What you can pass on
34. Chapter 31: Improvisation and playing by ear
35. Chapter 32: The music you do not play
36. Chapter 33: The scores
37. Afterword to the whole series
38. About FARJADI PIANO SCHOOL
39. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

Volume 6

The Stage

Google Play

Contents

1. Preface: The best dress rehearsal of your life
2. How to use this book
3. Chapter 1: The evening the body does something other than agreed
4. Chapter 2: The reach of the hearing
5. Chapter 3: The tonic is the present — music as a journey through time
6. Chapter 4: Readiness at the wrong speed
7. Chapter 5: The three kinds of nervousness
8. Chapter 6: The myth of playing safe
9. Chapter 7: The scenario you play out in your head
10. Chapter 8: The reversed dress rehearsal
11. Chapter 9: “I am someone who dries up”
12. Chapter 10: The mistake as steering, not as verdict
13. Chapter 11: Practising under pressure instead of only in calm
14. Chapter 12: The cold test — find the places that break
15. Chapter 13: The carry-on exercise
16. Chapter 14: Is the programme ready? Four questions
17. Chapter 15: The day of the concert, hour by hour
18. Chapter 16: The last ten minutes in the green room
19. Chapter 17: When it goes wrong in the middle of a movement
20. Chapter 18: The restless week before
21. Chapter 19: The week after
22. Chapter 20: To the teacher
23. Chapter 21: When you play with others
24. Chapter 22: Coming back after a bad experience
25. The stage card: one page for the green room
26. About FARJADI PIANO SCHOOL
27. About the Author

Languages

DanishEnglishGermanSpanishFrenchItalianNorwegianDutchPolishPortugueseSwedishTurkishJapanese

The e-books are sold on Google Play and can be read on phone, tablet and computer. Prima Vista is also available for Kindle and in print on Amazon.