Customer Reviews

On Piano Playing: Motion, Sound, and Expression

5 star:		(11)
4 star:		(0)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

I believe Mr. Sandor's (pronounced SHAHN-dor, BTW) book to be the best book on piano technique out there. It's a bit pricey, but worth it.

Mr. Sandor was a student of Bartok and is an award-winning concert pianist. I'm a physician with an engineering background, and I can tell you that Mr. Sandor also has an exceptional understanding of the piano mechanism and of the dynamics of the human body, *and* is a very clear writer. He explains not only the proper physical technique to get the sounds you want, but also explains from a musical standpoint what sound you should be striving for and why, as well as including many useful tidbits along the way, such as the proper timing of grace notes.

Mr. Sandor explains why many of the popular (and painful!) techniques and exercises are not only unnecessary, but harmful both physically and musically. Mr. Sandor himself is the best testimony to the validity of his methods. I had the privilege of hearing him play at age 89, and of hearing his remarkable sound unfettered by a long lifetime of wear and tear on his joints and muscles.

This book would be of most benefit to a budding professional classical pianist, serious young student, or professional piano pedagogue, but is also very helpful to a not-very-good amateur such as myself.

All in all, a very solid, sensible work.

This remarkable book is perhaps the most outstanding written resource available to pianists pursuing efficient, effective, pain-free technique on their instrument. In a little over 200 pages, Sandor provides an exceptionally thorough and readable analysis of piano technique with ample diagrams, photographs, and musical samples. At every turn he displays a detailed understanding of human physiology and the means to use it to produce musical effect without excess strain, effort, or injury. Very impressive, very accessible, it's a "must-read".

This is an exceptionally useful book on piano playing. Mr. Sandor is himself a virtuoso and has helped many gifted pianists develop virtuoso technique over the years. The writing in the book is simple and clear. The book is organized quite logically.

The book is in three parts. The first discusses the facts of the piano mechanism and what can and can't be done at the piano. Mr. Sandor also discusses the physiology of the parts of the human body that go into piano playing from the fingers through the back (and the feet for the pedals). What I like about his descriptions is his emphasis on coordinating the various elements without strain, pressure, or awkwardness.

The second part introduces Mr. Sandor's own notation for marking up scores in relation to technique (which I found surprisingly helpful in understanding his concepts). He also introduces the various means of playing. Some people like what he says here, some reject this or that. What I like most is his way of helping the pianist gain the maximum ability to play the piano by getting out of his own way. Mr. Sandor simplifies things so you don't waste time trying to do things from awkward positions or through impossibly contradictory methods. You will find this skill common to all great instructors trying to teach students. So much can be gained by just being coordinated and efficient. But what seems simple after the instruction was hopelessly obscure before the master showed you the simple way.

The third part of the book is about taking these techniques and applying them in making music. The author addresses how to recognize when to use the various patterns - how to combine them. He discusses pedals, practicing, memorization, and performance tips. He is always so supportive of the student. For example, in memorization, he discusses that this is a legacy of Liszt and that many wonderful pianists use the open score in performance and it is quite often used in making recordings. He also says that simply because you might have a memory slip does not indicate that you don't know the piece. It is a human frailty to get distracted and that you should simply get back to it and work a little more without becoming discouraged.

Really, I enjoyed this book quite a bit and found some things that are helping me and I think you will be able to find things that will help you.

I am an organist. Nevertheless, I found this book profoundly helpful in developing a good keyboard technique. While it won't help the organist with pedalling (you would have to consult Gleason on that one!), it will help you develop a solid and flawless keyboard technique. The organist must base his or her organ technique on a good piano technique. Even though the fingering is slightly different from the piano to the organ, much can be gained from Sandor. I would highly reccommend this book to any organist or pianist. It is a good, common sense guide to piano technique. Gone are Hanon and Czerny!

I've implemented a few of the tips I read in here, and--to me at least--it sounds like my tone has already improved. I can't comment on the more advanced technique advice now, but it sounded rational enough.

Two complaints: one, some of the diagrams at the beginning of the book are confusing. Two, I'm not sure how accurate Sandor's explanation of the learning mechanism is--he goes through the roles of the subconcious, conscious, and unconscious mind, or some such. I was suspicious, but it may be right for all I know. At any rate, it's a minor part of the book, and it erroneous, the falsity may well still be useful.

Sandor thinks that relaxation isn't the key nor is tension, but rather--which sounds quite rational--a mix of the two. He believes many exercises and pianists are misguided in their preaching strengthening the fingers: Sandor argues that there's no need for this, when the upper arms have near limitless energy that simply needs to be tapped.

Coordination is the key. Sandor provides various exercises to improve this, technique by technique: rotation, scales and arpeggios, free fall, thrust, and later chapters touch on various topics.

Myriad musical examples (Sandor believes in using the literature to improve, not various etudes, which teach destructive repetitive mechanics) are provided, mostly Romantics, some Bach. A lot of Chopin, and the Waldstein Sonata again and again.

It's concise, it's approachable, and certainly seems useful. Sandor is clear in his favored technique, and makes it known quite well how to pick it up yourself. His opinions are honest and forthright, his examples usually meticulously remarked upon, and the goals vividly described.

At a brief 200 pages, few pianists have an excuse not to read this book.

This is one of the few books on piano technique which deals with factual, objective, anatomic, physiological and cognitive issues rather than with subjective views based on personal experience and opinion. Though not perfect (it does not tackle every aspect of piano technique) it is really helpful. For those people who liked the work of Otto Ortmann, Seymour Fink and Max Cooke.

On one level this book is very helpful because it makes you very concientous about the human body and how to properly use your own equipment. It brings the reader an awareness of what is being used and how to avoid overuse or misuse. But the usefulness of the text stops there. He advocates a technique for a good portion of the book that did not work for me. It may work for you but I spent four months studying and putting it to practice with little results. My piano professor now, who was a student of Fisher and Kottler, a Julliard and Indiana graduate, and a regular performer at Carnegie Hall, says that Sandor was not well-regarded for his technique when he was alive. My professor studied at the same school that Sandor taught at. The technique used, mainly of wrist movement is actually very cumbersome and hard to practice. Piano playing does not become effortless but a huge challenge. And some of the things that Sandor advocates are all too obvious and are already being practiced by every pianist based on the structure of the human body. If you want to try it out to see of it will work for you then heres one exercise. This is the main technique: When you wish to play the thumb the wrist plays low and to the left. If you were to place both hands in this position and touch the wrists you create a V-shape. The ideal position for the middle finger is a level wrist with the keyboard, played in a central position. The pinkie is of course played furthest to the right and is the highest position of the wrist. The hands when placed together at the pinkie position create a spade shape between the two hands. None of these positions should be taken to the extreme. In fact their positions are almost natural. After trying it out, with difficult literature because that is the only way to test it, you will most likely conclude that the piano is an instrument that requires a much greater arsenal of approaches that takes years to develop. Its silly to think that great piano playing can be achieved by one very simple technique. Its much too complex than that. In the end, I hope you find a good technique, because with hard work and great perseverance, piano playing becomes effortless in its own right and thoroughly enjoyable from a technical standpoint. But it must be acheived through hard work. Find a good teacher!!! good luck.

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!

This is a very good book illustrating the human body to piano playing. The book is referred to me by a pianist. If you want to play good piano, don't miss it!

Even if you found that this book has been helpful to you, I strongly suggest the following additional books:

"Attention and Motor Skill Learning" by Gabriele Wulf ...Experiments show that focus on results (external focus) are more effective than focus on one's own body movements (external focus) I strongly suggest reading this book, especially for those who have found that the Sandor book has not helped them.

"The Art of Piano Playing - a Scientific Approach" by George Kochevitsky (repeatedly contradicts the falling arm practice technique)

Remember that learning how to walk and talk did not require knowledge of what and how the body was doing it.

We all have different learning styles and the Sandor book was not helpful to me. Others may also need alternatives. It is also important to find the right piano instructor.

(Both books are available on Amazon)