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Frederick Stocken

composer and organist


Scale Shapes using the Stocken Method (Chester Music): a diagrammatic method for learning keyboard scales based on the examination requirements of the ABRSM.

Grades 1 and 2 (2001); Grades 3 and 4 (2002), Grade 5 (2003); Grades 1-5 all appearing in revised editions; 3rd revised edition of Grades 1-5 in 2009 for the revised ABRSM syllabus.

“Occasionally something simple is invented which makes it difficult to imagine a world without - for example a paper clip or the ‘post-it’ sticker. In its own way, Scale Shapes, may prove to be such an invention.” Journal of the Music Masters’ and Mistresses’ Association.

Simon Sechter’s Fundamental Bass Theory and Its Influence on the Music of Anton Bruckner (Edwin Mellen Press, 2009).

This book is a published version of Frederick’s PhD thesis.  Frederick wanted to enrich his composing by studying one of the most comprehensive accounts of the theory of harmony ever undertaken – a fascinating journey that has indeed deepened his technique.
"... Stocken's study rises thoroughly and elegantly to this challenge. ... this book remains a most valuable contribution to the literature. Stocken's study is a diligent in its encounter with Sechter's theories and their sources, constructively critical in its engagement with the secondary literature, and perspicacious in its analysis of Bruckner's music. It makes a vital contribution to both Bruckner and Sechter studies, and as such should become an important text for scholars in both fields." Dr. Julian Horton (The Bruckner Journal).

Graded Keyboard Musicianship, 2 volumes, co-written with Anne Marsden Thomas (OUP ,2017)

These books develop five core skills at the keyboard: figured bass, score-reading, harmonizing, transposing and improvising.


Selected articles:

 ‘Studying with Sechter: Newly Recovered Reminiscences about Schubert by his Forgotten Friend, the Composer Joseph Lanz’, Music & Letters, 88 (May 2007), 226-65 (co-author, Rita Steblin).           

The lucky rediscovery of these reminiscences gives many new insights into Schubert’s thought, for instance his only recorded opinion on Bach.

 ‘Musical Post-modernism without Nostalgia’, The Musical Times (Sept. 1989), 536-7.  In this article, written right at the start of his career, Frederick set out a kind of summary of his artistic philosophy that has remained remarkably consistent in the intervening years.