On Piano Playing: Motion, Sound, and Expression

Description

This is an outstanding book. The style being a little dry for some tastes is of no consequence when you realise how much there is to learn on every page of this book. Sandor was a student of Bartok and is best known his performances of Prokofiev, Kodaly and Bartok's fiendishly difficult piano music. His first performance at Carneige Hall included Bach, Schuman and Brahms. Sandor has been praised many times for his subtlety and fine articulation when playing. As well as a performer he was also a teacher at Julliard and Southern Methodist University, Dallas and the University of Michigan. The book is well set out making it easy to use, with margin space available to make notes if you wish. The chapters are clearly defined, so if you are looking to solve certain technical problems you are having it is possible to `dip in' and find a solution. I'm sure, however, once you 'dip' you will want start from the beginning and discover everything this master pianist and teacher has to say. The photos and descriptions make it possible for pianists to model Sandor's excellent technique which helps with fluidity and stops some of the alleged problems of piano playing such as strain on various joints. I notice an immediate improvement in tone and phrasing when using these techniques with new piano students. It isn't for beginners, but as a teacher it is possible to incorporate some of the techniques included in this book at a very early stage. The book's teachings show Sandor's forward thinking and is a totally invaluable reference for pianists of all levels. I, for one, would not be able to teach without it! Highly recommended. Goodbye Hanon! Preface Part 1: The determining factors in piano technique Chapter 1: Music, motions and emotions Chapter 2: The piano Chapter 3: The human performing mechanism Part 2: Basic technical patterns Chapter 4: Free Fall Chapter 5: Five-Finger, Scales and Arpeggios Chapter 6: Rotation Chapter 7: Staccato Chapter 8: Thrust Chapter 9: Summary of the basic technical patterns Part 3: Technique becomes music Chapter 10: identification and application if the basic technical patterns Chapter 11: independence and interdependence Chapter 12: the pedals Chapter 13: singing tone Chapter 14: practicing Chapter 15: memorization Chapter 16: musical diction Chapter 17: Public performance Chapter 18: mannerisms and excess energy The index of the book provides a nice under-chapter parts, that make the structure of the book more precise.