If Part 1 is about building the foundation, Part 2 is about raising the walls and adding the windows. In most published editions (notably the Boosey & Hawkes translation), Part 2 begins roughly around Lesson 30 and continues until the end of Book 1.

Before dissecting Part 2, it is essential to understand the philosophy underpinning the entire series. Unlike the leisurely pace of some American methods (e.g., Thompson or Bastien), the Russian School moves quickly but systematically. Its core principles include:

Book 1 (originally titled The Russian Piano School: Book 1 – For Beginners) is typically split into two physical volumes. Part 1 introduces hand position, non-legato touch, and the basic layout of the keyboard. Part 2 is where the magic happens—it transforms a note-reader into a musician.

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Best for: Late-elementary to early-intermediate pianists (approx. Grades 1–3) who have completed Part 1 and want a serious, technique-focused approach.

If you have secured a legitimate PDF of Part 2, you need a practice strategy. The Russian method expects a master teacher, but here is how to self-apply its principles:

Unlike method books filled with generic pop tunes, Part 2 uses authentic folk material (e.g., “Kalinka,” “Meadowland”) and simple canons. These prepare the ear for polyphony, which becomes essential later for Bach.

After Legato is established, Staccato is introduced.

Now, the core of the matter. As of 2026, The Russian School of Piano Playing is still under copyright in most countries (it was originally published by Boosey & Hawkes and subsequently by various distributors like Musica Russica). This means:

Every Russian edition has two pages of non-musical finger exercises before the first piece. These are not boring—they are precise. For example: