Customer Reviews

With Your Own Two Hands: Self-Discovery Through Music

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I originally ordered this book for my niece who is experiencing much pain when she plays the piano. Since she is a music major and piano is her primary instrument, finding help has become a priority. When the book arrived, I browsed through it to see if it seemed to have helpful advice. I saw plenty to interest me that I decided to buy a second copy for myself. As a professional horn player, I found the first part of the book (A Reason For Practicing: Why Do You Practice, Why Don't You Practice and Concentration) captivating. He looks at the reasons people practice and don't practice. He is sensitive to the psychological and human values that greatly influence one's approach to music. His approach to concentration and feeling is one that is worth studying. In the second part of the book (The Disciplines:Tempo-Rhythm-Pulse, Listening, You and the Piano and Choreography), his analysis of various aspects of playing is both lucid and perceptive. I also felt that his section on the mechanics of playing looked as though it could be quite helpful to my niece as she struggles to overcome the pain she experiences when playing (I'll look forward to hearing if she feels the same). The final section of the book (Fulfillment through Performing: Performing, Memory, Nervousness and Finale) brings this work to a logical conclusion. I consider this book essential for reading and study.

Bernstein, Seymour. With your own two hands: Self-discovery through music. - New York: Schirmer Books, c1981. (Book review) Denise Stuempfle - September 2000

Seymour Bernstein, a much sought-after pianist and master-teacher, uses his combined experience as performer and teacher to motivate fellow musicians to seek self-integration through the pursuit of music. Comprehensive in scope, With your own two hands is a holistic approach to the study of the piano. This type of learning experience is imbued with authenticity since, as Bernstein tells us, "when your feelings are converted into muscular activity, your automatic pilot or reflex system is fed not only physical impulses but also the feelings implicit within them." Clearly, the behavioral and the affective find equal footing here -and without contradiction. Self-destructive habits associated with practice are logically addressed and illustrated. For those needing motivation to practice, other than the goals of self-actualization and self-integration, perhaps the more altruistic perspective will suffice: "When we practice we fulfill our share of responsibility in the circle of giving," says Bernstein. Those who feel compelled to practice to the exclusion of all else are reminded that "a musician who separates his art form from his personal life, does so at a price both to himself and to others," thus denying himself the opportunity of achieving balance in life. Other issues of concern to pianists, such as memorization, stage fright and various performance techniques are effectively and honestly treated here. Finally, in Schumann's own words, Bernstein bids us invoke the spirit of the muse in our practice, "Always play as if a master were present."

For those of us not privileged to grace the walls of Bernstein's studio, this is truly a work to be treasured. Geared mainly towards students, amateur musicians and professionals alike will welcome this contribution to the vast literature on musicianship.

I starting reading this book last year, I was 13 and had been taking lessons for four years. I felt my teacher wasn't teaching me the fundamentals. So, I picked this book up and read it. It is informative and inspirational. The exercises are easy yet effective. Bernstien can help any student. Without it, I would probably of only accomplish 6 months of work this year, but it motivated me to work my hardest and I'm better than ever.

There are two books on piano playing that should be a must read for all serious pianists. One is Neuhaus' 'The Art of Piano Playing', and the second is this one. Mr. Bernstein not only demonstrates a profound understanding of the challenges facing all aspiring and accomplished pianists, but provides invaluable advice on how to tackle all of these. It is an absolute must. You won't regret it - I learned more in 2 hours of reading that in months, perhaps years, of practicing.

After a nearly 20-year lapse I took up the piano again and came across this book. It is full of wonderful anecdotes and advice, not only for pianists but for anyone who plays an instrument. One-by-one, Berstein demolishes the myths and misunderstandings that keep us from exercising and enjoying our talents. He teaches us that mistakes and slips are natural and OK; invokes us to strike the right balance between technical excellence and emotional openness. His anecdotes, drawn from real-life experiences with his students, are valulable object lessons.

An honest confession: I am an angry practicer. My practices usually sound more like a hockey game than a quiet session, complete with book-throwing and all. But this book has truly changed the way I practiced. Because of my bad habits, I injured my tendons and hand. But now I see that practicing is osmething much deeper than just " learning the music". For any musician, pianist or not, this book is a true gem and a resource that will be a favorite for many years.

WITH YOUR OWN TWO HANDS by Seymour Bernstein is an inspirational and informative book for piano teachers and students alike. This author is an excellent writer as well as teacher-and concert pianist in his own right.

My piano teacher recommended this book, "With your Own Two Hands: Self-Discovery Through Music" (1981) to her adult students. The author, Seymour Bernstein, is a noted teacher, pianist, composer, and writer. I learned a great deal from this book about the love of music and about piano practice. I have been playing the piano for most of my adult life but only returned with some trepidation to take lessons about four years ago.

This book needs to be read in the way Bernstein recommends approaching a new piece to be learned at the keyboard. Bernstein recommends starting by stuggling to read the piece through to get a sense of its musical message and its demands. If it is a piece that the student falls in love with, he or she is ready to begin the hard, detailed work required to learn the music. Bernstein says that "unconditional love" of a piece is required for the work of learning it well. So it is with this book. It needs to be read through as a whole to get a sense of where it is going and to draw the inspiration to persevere. The detailed exercises, specifics, and recommendations are to be approached selectively and over time. There is much to be learned from an initial cover-to-cover reading; but for the pianist, this is not a book that should simply be read through and put aside.

The book proceeds in two related ways that tend to be intertwined throughout. First the book offers broad discussions about music and motivation. Bernstein articulates the value that people find by devoting themselves to the piano. He describes how playing music requires an integration of physical skill, feeling, and thought and then broadens this insight from the piano and music to argue that this integration is required to have a successful, full life. People who perform music seriously, for Bernstein, take one path of the many possible courses of self-realization. It is a necessary path for those devoted to it. There are allusions in the book to philosophy and literature, to meditative and breathing practices and to Zen Buddhism that cast a good deal of light on Bernstein's understanding of music and of practicing the piano.

The second part of the book addresses the specifics of piano practice. Bernstein proceeds from broad considerations, such as improving one's concentration during practice time, to specific detailed instruction on matters such as body and hand position, rhythm and volume, securing the independence of the hands and fingers, voicing chords, pedaling, and much more. The book offers many detailed examples and exercises on aspects of piano technique. These sections ideally must be read over time and in detail in tandem with one's practice and always with a broad view of music-making in mind.

The book is divided into three broad sections dealing with the necessity and motivations for practicing the piano, the discipline required to play at one's best, and performance, including memorization and overcoming nervousness. The book is written for pianists at all levels of abilities and talents. Bernstein does not write for performers with virtuoso or professional skills, but he does write for those who take their music seriously. For those who have music as part of their lives and want to share it with others, age and natural ability are secondary considerations at best. Bernstein writes eloquently throughout of amateurs who have busy lives and careers in other fields while making time for the pursuit of music. In the "Finale" of his book he writes of these amateurs:

"Stimulated at the mere thought of turning a musical phrase with control and artistry, they approach their practicing with a religious fervor and a childlike enthusiasm born of an unconditional love. No one forces them to practice; they are drawn to it. Their lives, they admit unashamedly, would be meaningless without music. Such people, though they may be highly accomplished in their chosen fields, are in truth among the most devoted servants of music. It is they who dignify the status of amateurism." (p.283)

Bernstein writes inspiringly and clearly. The book is full of stories and insights, each of which may strike chords for different readers. The book has many anecdotes about one of Bernstein's teachers, the great English pianist, Sir Clifford Curzon. A story that I liked involved Curzon and the music of Schubert, a composer I study.
A student of Bernstein heard Sir Clifford perform Schubert's opus posthumous B-flat major piano sonata. He fell in love with the piece and wrote a poem about it which Bernstein then showed to Curzon. Curzon met the student, thanked him for the poem and said: "It is a grave responsibility to love a composer as much as you love Schubert. You have no other recourse then but to practice diligently so as to give back this love to others through performing." (p.203) The student practiced his Schubert and later told Bernstein:

"I feel that my love for Schubert shows that I comprehend his music in some very special way. And I think it's this that gives me that grave responsibility Sir Clifford spoke about. You see I used to think I had no right even to speak of my feelings for Schubert's music, let alone try to project what I feel to others in my playing. Now, I'm convinced that what I feel is valid. But only by practicing intelligently do I earn the right to communicate my feelings to others." (p.204)

It is a shame that this book currently is out-of-print. It is inspiring to read and will be valuable to serious students of the piano.

Robin Friedman

The writer gives us the benefit of his experiences as pianist and teacher. His is a holistic approach, and he treats students as humans rather than as purely would-be concert pianists.

Bernstein's book is full of great lessons on how to improve your piano playing. This book and "The Art of Piano Playing" by Newhaus should be on every piano player's shelf. I gained a great deal of insight from reading this book and plan to read it again and again. This book will help any serious student of the piano no matter what your level. As you improve your skills you will turn more and more to this book because it will help you at each level. A must read.