Customer Reviews

The Piano Handbook: A Complete Guide for Mastering Piano

5 star:		(66)
4 star:		(12)
3 star:		(5)
2 star:		(4)
1 star:		(1)

 

 

This really is the best of the few decent books in this category - and one of only a small handful that don't treat you like an idiot. Concomitantly, if you ARE in idiot, this book won't work for you. As other reviewers have noted, the pace is definitely fast compared to the 'graded' lesson books commonly used by piano teachers. But using the CD, and practicing every exercise until you truly understand it - you WILL go far, and fast, with this one. I've carefully checked every other "teach yourself piano" title I've seen in the local stores, and even bought and returned a few. This one, however, is a keeper. By the end of the book, you'll be playing some fairly impressive classical pieces (more than enough to impress your friends - unless they're experienced pianists!). Along the way, you get a very nice background in piano history (great photos an illustrations!), and you'll gain a good, solid understanding of reading music. (hm - except for all those british musical terms. Feh. Luckily, American-style is included as well.)

Generally, you really, really should try to get a teacher. But if you just can't afford it, this book is the next best thing. Combine it with a few videos/DVDs (like the "Van Cliburn competition" - YES!, or even buy "The Pianist" or "Shine" right here on Amazon) so you can get an idea of how pianists hold and move their hands. (not that you'll move like these people for a long while!).

There is a crazy typographical error in my edition of the book, where an entire paragraph is repeated! This is only a little sad, because the space could have been put to use for more of the author's great information. It's not enough to drop my rating! The binding (at least in my edition) is spiral - a VERY SMART move, as it sits nicely on the music desk. I have to make photo copies to use the sheet music in other books!

This one has got my full recommendation. And better yet, if you have any musical background at all, or have had some piano lessons (even in your distant past) this book will have you flying along in no time.

The Piano Handbook: A Complete Guide For Mastering Piano by pianist, composers, and music journalist Carl Humphries is a straightforward, "user friendly" tutorial for mastering the art of piano playing. An erudite text (illustrated with both black-and-white and color photographs) deftly detail various styles of play ranging from romantic, to classical, to jazz, rock, blues, and more, as well as technical matters such as hand positions, pedaling, tonal balance, chord progressions, etc. The Piano Handbook is enhanced with an accompanying music CD which has tracks relating to 69 different exercises. Highly recommended to piano players of all skill and experience levels seeking to improve, The Piano Handbook is designed in a spiral bound format which will conveniently lay open flat while practicing music.

Although this book is designed to be a complete keyboard coarse, it is so densely packed with information and moves so fast from one subject to the next, that it would not make a good self-study guide for someone who knows absolutely nothing about playing the piano. The information is all there, but in a no nonsense fashion, not in a more user-friendly, take the time to really make sure anyone can grasp the concepts that are commonly found in beginner courses with much more modest goals. That said, as a comprehensive reference to playing styles, techniques and methology it is unsurpassed. Anyone with a basic grasp of piano playing, will find it most useful. Are you trying to play some Bach or Mozart but can't remember or never knew how to play a trill or mordant? This book will not only show you all of the various ornaments and explain not only how to play them, but offer many examples of what is in stylistic keeping for a given time period for a piece of that tempo. If that is not cool enough, it also explains the reasons for why it was used and relates it to later developments not in that style of music but in current styles of music, so you have a basis of information to make your artistic choices. Want to know how romantic music such as Debusey is traditional pedaled; this book will show you and explain what you are trying to acomplish soundwise. Maybe you studied classical music for year and now want to play a bit of bluegrass or jazz, this book will teach you about that too. Or maybe you want to just pick up some pop sheet music and be able to improvise a bit of additional accompanent, because what is provided sounds so empty. The answers are in this book too.

The book is divided up in too many broad chapters that explore a cluster of concepts exploring both musical theorie and practical techniques. Each section has elaborate exercise and several complete pieces of music, all of which can be heard on the accompanying cd. History notes and biographis on relevent composers round out the chapter. In fact there is so much, sidebar information, that you can learn a lot by just flipping around and reading those. There is also a large reference section in the back containing both suggestive listening and music to play and a comprehensive musical dictionarie. The only thing missing is an index, which would make it much quicker to locate the desired information. The only other thing I didn't care for was the fold out table of contents at the beginning of the book that are subject to damage when you fold them back in. They really should have been printed on the inside of the cover.

Unless you have a degree in music, it is hard to imagine that anyone could not find something to learn from this amazing book. As I look though it, I am constantly amazed by how much has been packed into this 290 page bundle. The book has a sturdy hard cover and opens to spiral bound pages that make the book a pleasure to prop up on the piano. All in all this book is well worth the price.

As a side note, Americans should be aware that the author uses the British names for notes values and time signature (i.e. semibreve rather then whole notes and crotchets instead of quarter notes, duple time for double time). They explain the two sets of names in a chart near the beginning and then ever after use the British terms. As someone use to the American/Northern Eurpean names, I find a bit confusing, but am getting used to it.

This is the greatest single book on piano that I have ever seen. It is amazingly dense with information, yet never boring or excessive. It covers EVERYTHING from history of piano, what brands to consider for purchase, how to play from A-Z including basic music theory, performance technique, various styles of music (classical, rock, blues, etc.), who to listen to, what CD's to buy, what reference books are good, etc. etc. I just can't believe what a great book this is- it would have saved me countless hours of wasted time with "sheet music" which gives you nothing but the notes. This book gives you lots of notes (hundreds of songs, along with CD to hear them), but it goes 10 steps beyond that- it gives you history of the song, the composer, things to strive for in performing the song, and all in a step-by-step (actually, unit by unit) fashion. It is bound on a spiral spline so it stays put on the piano rail (thank you!) and sports a very attractive color hard-cover that looks nice just sitting there! THe CD is a great added value, since you can hear what the songs are "supposed" to sound like before launching off on your own. This is especially useful if you are somewhat "rhythm challenged" like me. If this book cost [money]it would be worth it. My only (minor) complaint- the pages are printed on fairly glossy paper which can glare if I don't set my light at just the right angle. Carl Humphries, thank you from the bottom of my heart!
Peter

As one other reviewer stated, this is the best book in a pretty sad category... he's right. There aren't many books that cover a LOT about learning the piano. This is by far the best of the bunch.

All books, I've noticed, by Backbeat, seem to be of the absolute highest quality with the most concise and complete information. Most Backbeat books also include a CD of examples, which is fantastic. This book's CD is no exception to excellence.

I am an ok piano player. Taught myself over the years and want to get better, much better, in the next few years.

I have been doing all the exercises in the book and can play the beginning part of Bach's "Prelude in C Major" which is one of the most beautiful solo piano pieces ever. I was proud of myself for learning it so quickly. The book helps, a lot.

It helps to know some theory, and be able to read the notes and rhythms on the staff. Most people picking up the piano probably already know that.

For $20, this book is more than worth its weight in gold. Seriously. Classical is definitely the focus, but it also covers a good deal of jazz piano technique. Easy to understand. The spiral binding is excellent, too as it perfectly lays flat on my music stand in front of my digital piano.

Pick this up and the Burgmuller 25 Easy and Progressive Pieces and you're well on your way to getting a solid foundation in classical piano technique. Also, for the brave ones, pick up Hanon: The Virtuoso Pianist. I have exercise 1 down solidly, but only at 65bpm. I'm supposed to have it smooth at 108bpm. Haha. That will take some time. Those legendary books are a nice companion to this amazing, modern piano technique book.

Thank you, Carl Humphries, for this book. I have used similar techniques in teaching my students over the last 20 years. I have been trying to write this book for about 3 years, but find myself too damn busy teaching lessons and performing. This book includes everything, from the basics to the most advanced. AND, it doesn't ignore the 20th century. What I mean is that so much great music was made in jazz, rock and latin music in the past 100 years and I find that the local "Ivory Tower" (the BYU piano department) tends to either ignore it or pooh-pooh it.

Also, Humphries shows how these recent styles are related to their influences, including "classical" composers like Debussy and Schoenberg, without making the styles seem like lesser entities of their "legit" ancestors. Now I can start giving my students this book, instead of continuing to promise them that I'll get my book done--and then not delivering for God knows how many years.

My critiques of this book are that I wish there had been more emphasis on ear training, application of jazz voicings and structures and improvisation. There is a CD included, which I love, of all the written material in the text. But while Mr. Humphries does write that ear training is vital, there is little in the text to work with. I have my own approach to this, so it's okay, but I'd love to see it in his book because not only was it the original way to communicate music, it is also the more effective. Don't get me wrong; I am into the whole sight reading thing, but it is so limited in conveying emotion and "feel" that you can get from learning music by ear.

Also, he has a few exercises dealing with jazz voicing, but only from Bill Evans (who happens to be a brilliant example), but I find that quite limiting--especially when the book refers to so many other Early Jazz, Swing, Bop, Post Bop, West Coast and Modern Jazz players. Perhaps a rounding out of these ideas that Humphries brings up would make the book more complete--and that would go for the discussion of Latin and Rock as well.

While I appreciate the discussion of the various scales used in improvisation, I was disappointed to find little or no discussion on improvisation itself, which might include sections on motifs, motif development, counterpoint improvisation, 'comping, and include some transcriptions of great improvisors such as a few lines from Jarrett's Koln Concert.

All in all though, Humphries' book is (to use the critic's ancient term) a TRIUMPH! Bravo; I look forward to a second edition with more cool stuff.

David Cannon

I'm only on Chapter 2 of this book, but I am amazed. Every exercise is chosen perfectly!

I thought playing with two hands at once was my greatest challenge. The exercises in Chapter 1 start with the simplest little song, Frere Jaques, but the last 6 notes are given to be played with the left hand instead of the right. Then they give you alternating hands, first one hand than the other, until it makes you alternate quickly with complex (for a beginner) rhythm. Then it gives you a very, very simple song with two hands that is easier than the alternating-hands song. When I got to the very last exercise in chapter one, I saw that I was focusing on playing with two hands too much and didn't have the rhythm skills to play it. So I went back to the first exercise and worked at playing each exercise (again) with the metronome, faster and faster. Then I realized: not only are the exercises in Chapter 1 chosen perfectly to train you to play with two hands, but they are also chosen perfectly to train rhythm! Even the last one, which forced me to go back and start over, was just perfect! The way the exercises are chosen and presented in Chapter 1 is just pure genius -- both in getting you to play with two hands and rhythm.

This is not a book for people who want to play music without learning how. If you are "let me just do it" kind of person, get some other book, get one of those play-music-in-30-minutes-without-ever-reading-a-note books. But if you like structure and want to actually *learn* music, this is the one to get.

My plan is to get through chapter 6, which includes 'composing part 1'. I have no desire to play entire symphonies -- or reach chapter 18. Although I'm having so much fun I might not want to stop after chapter 6.

The only part of this book that is NOT done well was the very first exercise, counting rhythm. (which is why I call this book *almost* genius). Counting rhythm is vital to play music, but there is only one page on it that I didn't understand now matter how many times I read it: I couldn't tell if I was doing it right or not!
I had a musician friend demonstrate counting rhythm to me, then I sat there and counted with the metronome "one, two-and-three, four". But without his help some outside-the-book thinking on my part, I'd never be able to play the last song in chapter 1.
This book progresses very quickly and you must understand every part before going onward, or you will fail eventually. So if you don't understand something, you may need to go on the internet and research it yourself until you *do* understand. But as long as you take each paragraph, each exercise seriously, as long as you don't skip around or skip ahead without learning, you will see with what genius this book is put together.

Making it spiral-bound, so it can rest on your keyboard, was also a very smart idea.

Finally, a book that challenges and interests me right from the start! Thank you so much, Carl; I hope wherever you are, you are reading this. Even the negative reviews of this book have me excited, since it's perfect for my desires. I have only finished the first Unit, but in my opinion that's the "make-or-break" section of a method book. Each exercise really works your thinking skills and provides interesting challenges. Even the simple exercises throw in slight twists, like finger position changes, or eighth notes on the left hand for a measure, and so on.

Finally, the melodies are something I can have in my head without going nuts! That's huge for me, because the tune will echo in my head after I've learned the basic melody, and if it's a good tune (even though basic), it'll draw me back to the piano to play it out one more time. If it's a horrible little kid's tune, I have to turn on the radio for my MMRT (mental music replacement therapy), and I sure don't feel inclined to practice it. As adults, aren't we picking up piano because we are musical critters? This book rewards the musical person in me and my thinking abilities.

As an example, the last song in Unit 1 is a build-up of your previous practice, as you would expect. Do you know how many times I've slogged my way through method books to the last "big" piece, only to find it's something like "Heart of My Soul" or "Kuumbaya." GAH!! That's my cookie for getting through the Unit? (Oh, blast, now *those* tunes are in my head.) I was so thrilled, when, after playing the left hand notation and then the right hand notation, the piece in this book emerged as sweet, simple melody, kind of like one you would hear in a Jane Austen movie, and certainly one I would be happy to play in front of others! (Who would ever burden their friends with a novice rendition of Kuumbaya?)

One thing I am curious about in this and other method books. Why have readers practice the piece first with the right hand melody and then the left? I do it in reverse, since my left is clearly the least flexible and the neuro-synaptic memory paths the least developed. This is ironic, given that I've played guitar for many years, so you think that'd give me a leg up, but man, my left hand cannot dance!

Oh, yes, and if you want to gauge if this is the right book for *you*, I've played guitar for quite a few years, so I'm fairly comfortable with treble clef notation, and I've also attempted--at two separate times--to learn piano with different methods, such as the _Play By Choice_ and the Hal series. So, I've had some exposure to keyboard. If you are a total novice, I would get a very slim intro book and work that one first, but if you are a *thinking* total beginner, get the slimmest intro book you can find, because too many adult method books are not for adults, imo.

Both of the other method books just left me discouraged because there was so MUCH ground to cover before interesting material came up. I really had to slog through the exercises, and my motivation gradually declined. My guess is that a lot of piano method books are originally designed for children and then re-purposed for adults, and that just didn't work for me.

Finally, this is simply a beautifully bound book, and the spiral back very clever. What a good investment.

If your an adult beginner looking for a supplemental book to go with your basic piano book, this is the one you should pick up. It moves fast, so I would suggest "Alfreds Basic Adult Piano Course" in addition to this book. The beauty of this book is that it gives you a a large number of great tunes; which you'll enjoy playing and learning when "Twinkle Twinkle", "Aunt Rhody" and "Jingle Bells" start to drive you and others around you crazy! I understand that the best way for a person to learn is to study a bit above their level, and this book will provide just that. Just take it slow and don't forget to use that metronome!

Other reviewers have said that maybe this book is a little fast for total beginners. I can't be sure, since I took piano lessons for a few years a decade ago, but even if it is, it's worth it because: the explanations are adult and to the point, the aspects covered are much better chosen than those in other beginners books, and especially the music is not childish ditties. Instead, one is doing appropriate, but interesting, music very quickly. That alone makes this the book to get. Since the music is interesting, it's also great that there is a CD, so one can first learn the piece, and then hear more subtle aspects to aim for. I'm sure even beginners can work this way.

One gripe, mentioned by others, is that there are errors, misprints, and print drop-outs in this book. Nowhere near enough to cause a major impediment, but enough to be a little frustrating sometimes. So, I've started a "CUSTOMER DISCUSSION", which can be found under the reviews section. I'll list the questions/confusions/errors I find, and maybe people with more experience will be kind enough to chip in with answers. I hope others add questions as they arise. - Cheo