5 comments about What Every Pianist Needs to Know About the Body.

1. I'm seeking a way to return safely to piano after recovering from bi-lateral tendonitis. Several approaches stand out: Taubman Institute, Feldenkrais, Alexander Technique, and body mapping. I want an approach that is safe and effective, specific to piano, and economical (everything else being equal). Mark's book is my first purchase: the book is piano-specific, exceedingly cheap relative to the full $800.00 Taubman 10 DVD set, and sufficiently packed with accurate anatomy to impress my occupational therapist (hand specialist w/ Ph.D.). So far, so good . . .
   
   Now for the fine print: the book is 90% anatomy, not piano playing. There are isolated pointers based on anatomical facts, but the emphasis is, "Musician, heal thyself." The methodology is for the musician to learn their body, listen to their body, trust their body, obey their body. I'm looking for a recipe book (it is safe and effective to play scales like this, arpeggios like this, reach with your thumb like this, . . .), not a book about how to grow my own ingredients.
   
   This book has merit and value, and I'm glad I bought it, but it is not enough by itself to get me back in the saddle. Looks like I have some Taubman videos in my future.



2. This book contains a great deal of useful information for all kinds of pianists so the name is actually quite apropiate : What every pianist needs to know about the body. And that's exactly what it is. Unfortunately I discovered this book late, but fortunately, not too late; I've just recovered from a injury that's kept me away for over half a year from playing my beloved instrument. Now I know what I did wrong, and also how to correct it. I'm not saying I'm already done, I will need some rereads of the book. Taking in the process some notes to apply to my daily playing. It won't be easy but it will surely be worth it. I reccomend this book to everyone interested in not just recovering from injury, but also to everyone interested in improving their technique.



3. I am a 17-year-old pianist from New Jersey. I am almost finished with reading this book, and I found this book very useful for mapping my body and applying it to my own playing. This book is not just for pianists, but every musicians. You will be satisfied, and this book will make your playing easier, freer, and more expressive. You will enjoy reading this book. This book will lead you to better playing and you will be aware of your body movements. This is a very well-written book that deserves not just 5 stars, but maybe 10 stars! A wonderful guide.



4. Very informative book. I have to read it again and consult with a physiotherapist. But as far as I understood, it is an extention of Alexander Technique and it further explains all what is used on piano technique. It further explain forearm rotation which is essential for proper piano technique. It also demystifies wrong picture about fingers, wrists, shoulders. In simple words it's a musthavebook.If there is a BODYMAPING course in area where i live, i would already be on that piano class.
   
   Update, I have just finished the book. All pianists should have this book. I am anxious when they release DVD Video related to this book. There is a VHS version for purchase but i'll probably wait for digital one.



5. I am becoming so much more aware of my body in all of my life and also a much better piano teacher. It will help you to be a healthier and happier person if you take it to heart.

3 comments about Alfred's Basic Piano Library: Lesson Book Level 1B (Alfred's Basic Piano Library).

1. Book was recommended by my child's piano teacher. It is kid friendly and easy to read.



2. I purchased both 1 A and 1 B for a friend who knows nothing about music but wanted to be able to teach her seven year old daughter basic keyboard playing. The books are excellent for this purpose. They are clear, well-paced and make learning fun from the beginning.



3. My son (5 yr old) finished prep course level A and B. Instead of go into C, I decide switch him to regular course. This 1B is continuation from prep B. So far both I and my son like the material in 1B.
   There are lots of piano teaching methods out there: Alfred, Piano Adventure, Hal Leonard, John Thompson, Music Tree, Piano Town, just to name a few. There are also lots of debates on which method is better. One of the major criticism of Alfred basic piano library is that it's fixing student's hand position. We only onto 1B, so we don't know if it'll be a problem later on.
   But the music in these Alfred books are good. My son likes them and like to play them, that's all it matters. I also bought both Piano Adventure and Hal Leonard and I like the music in Alfred better.

2 comments about Progressive Class Piano, Second Edition.

1. With the help of a teacher, this book is wonderful for the "older" student who is looking to play piano. For each chapter, there are rhythm, composition, and techniqal drills. The book comes with supplementary material, scales, cord progressions, circle of fifths, and transposing to other instruments. Each chapter progresses enough to keep you moving, but not so fast that you lose yourself. A definite reccommend to the beginning piano player.



2. I was first introduced to this piano book while a music major. My background was with voice, guitar, and trumpet, but I was required to take piano each semester. Don't let the title imply that this is solely for group (class) piano lessons. It worked well in one-on-one sessions, and I bought it for my wife this past Christmas (I don't do well giving lessons to my own family members, and I'm still no piano virtuoso). She is studying on her own, and has a piano playing friend drop by for an informal lesson every couple of weeks.
   
   The book starts out by having you explore the keyboard, playing with different groupings of keys, so you can hear their relationships. Students are encouraged, for example, to use only the black keys to pluck out familiar melodies, and then to make up a short melody of their own. After that basic orientation, it moves on to primary five-finger patterns in the simplest keys (C maj., G maj.) and builds from there. Chord charts help the students make the proper finger transitions along the way.
   
   The exercises start simple, but move on to more rewarding little pieces in a surprisingly short time. As students become proficient in each new key, some exercises ask them to transpose them (play them in a different key) on the fly (without having the written music in front of them). This is a very important skill for any accompianist, who may need to play a given piece in a differnt key to accomodate a soloist's specific vocal range.
   
   Unlike some basic piano texts that cover only parts of your learning journey (different books for beginners, intermediates, etc), this one will move you from the most basic exercises to very complex pieces by the end--it is a substantial volume. It does a good job of introducing chord progressions, and it handles the introduction of the minor scales very well.
   
   The very end of the book contains complete written scales for every major and minor key, invaluable for drilling the basic skills as you progress.
   
   Overall, a fantastic book! You will enjoy playing!

4 comments about Piano for the Developing Musician.

1. This book is wonderful for teachers who want to teach non-piano musicians how to play. Also useful for teaching oneself how to play. Easy to follow, which makes the piano easy to play! Great book!



2. I studied under Martha at the University of Texas and went through her program using this book. I resented having to learn piano - it wasn't my primary instrument. In fact, I couldn't have been less interested in piano. But time goes by and a decade later I am actually a keyboardist in a rock band. I credit my ability to cover many styles to Martha and the PDM book. My wife, a "real" pianist, is amazed that I can improvise and cover most any tune with ease - something she isn't able to do very well (though she is a remarkable pianist). Bottom line - this is an excellent book and should be studied by PIANISTS as well as other musicians. I would submit that THE three books to have for all Keyboardists to own are 1) The Jazz Piano Book - Mark Levine, 2) Jazz Theory - Mark Levine, 3) Piano for the Developing Musician. Great Books. Buy 'em! Love and Peace, Brian



3. It is very informative and a great learning device for the beginning piano student that doesn't know anything about playing the piano.



4. PIano for the Developing Musician is a comprehensive piano course that incorporates much of the current research about music learning. It would not be my choice for my private studio, but appears (admittedly, I haven't combed the entire book) to be appropriate for a college level piano class. The one drawback that I encountered involves some of the original music. While it is applicable to the lessons being taught, some of the selections are so weird as to not be engaging to the student.

2 comments about Contemporary Class Piano.

1. If you are starting or wanting to start playing the piano, then this book is it. Its really easy and fun to use. Step by step of examples throughout. Most professors at City College of San Francisco use it and recommend it. I have ganed lots of piano experince using it.



2. My book came in under a week, brand new, and for less than anywhere else.

4 comments about Suzuki Piano School, Vol. 1.

1. I started my 3 1/2 year old in this program and she is now five. She is playing unbelievably! This program is for everyone! Make sure you buy the companion cd or cassette with this. Also get Nurtued by Love, by Dr. Suzuki.



2. I quit Suzuki piano as a child (didn't like my teacher, didn't like learning notes), but recently took it back up again. I now understand the value of Suzuki--and wish my first teacher had embodied what the method is all about. I am currently teaching myself, but see how the use of both hands and chord usage in progressing songs is very valuable in the learning process. What they teach you in the building/base songs transfer easily to more complex songs and classic pieces--and the pieces are all very nice--I recommend ordering the CD/tape to learn, as learning by ear is just as valuable as learning to read at this stage--I think they go hand in hand--and memorizing the song from the CD then being able to translate it onto the piano is very rewarding. I'm now on the second book...looking forward to the third! I was able to easily branch out to other piano books based on my foundation knowledge from the Suzuki method. That said, I did supplement it with some theory (as I don't have a teacher, and these books rely on a teacher for that aspect). I recommend Humphries book for theory--with internet reading as a supplement! Hanon exercises are very helpful, too.



3. My 2 small boys began taking piano lesson this fall and they have been able to read this book. It is so easy for kids to practice. It helped my kids allot that they will be playing in the Christmas celebration at their school



4. This book is to be used by teachers who have had teacher training in the Suzuki Method through the Suzuki Association of the Americas. The student listens to it's companion CD daily to help develop his ability to hear the music more clearly and to get a feel for the flow of the music. Through a positive environment, the trained teacher guides the student in acquiring excellent piano technique and a natural feel for the music, as well as self-confidence. For more information, go to www.suzukiassociation.org.

3 comments about Piano 101 : Book 1.

1. I found this a great book to start learning piano. My college class uses this book and It is definately a great help.



2. If you have never played piano, you can start with this book. It will take you from finger numbering to types of notes, through A/B/C/D/E/F/Gs, and a selection of known songs.



3. This book explains everything really well and has some great practice songs in it. My only complaint would be that it's a little too easy - I had taken a little piano before and I could pretty much play everything in the book with some practice. If you are just starting out though, and have never played before, it's a great resource. Highly recomended!

5 comments about Arias for Soprano: Voice and Piano (G. Schrimer Opera Anthology).

1. I needed this book for my voice lessons and it was a great price and in wonderful condition. Thank you!



2. Next time, I'll check the titles of the songs more closely. I already have many of these arias in my old copy of Schirmer's Arias for Coloratura Sopranos. I was looking for something that had more arias for the beginner-intermediate level soprano. This is a good book for the more advanced soprano particularly coloratura's, however.



3. I was looking for this book everywhere and couldn't find it. Here in Amazon I found it absolutely new for almost 6$ less that the actual cost it has on the back cover. The edition is clear, easy to read and find and the translations are included. I highly recommend this book for all sopranos.



4. These books are great. I own the coloratura edition, also, along with the Standard Literature book. They are accurate and easy to read. There are also usually a few different options for cadenzas.



5. This book is by far my most tried and true friend. I bought it again because I not only overused and spilled numerous cups of coffee on my last book, but I took it with me everywhere and I would lose my own head if it weren't attached. Nonetheless, I digress.
   
   I have had this book (in one form or another) since I started studying classically 10 years ago. It includes a good variety of arias from various operas across all languages and over the course of opera history. It is an excellent book for college students, because the music is very legible and approachable. Larson has included many stylistic suggestions (appogatura and melismas), as well as a program notes section that includes scene descriptions and translations (which are far better than all in-music texts in other soprano anthologies). I often find it easier to use this music in auditions rather than provide score copies to an accompanist.
   
   This volume, along with the coloratura, oratorio, mezzo-soprano, and volume 2 soprano should be staples in any younger singer's library, and are great references for high school and college professors.

5 comments about Complete Preludes, Nocturnes and Waltzes: 26 Preludes, 21 Nocturnes, 19 Waltzes for Piano (Schirmer's Library of Musical Classics).

1. Carefully transcripted and correctly analysed in both tonal and expression matters this sheet music Chopin collection covers the needs of both the experienced and the amateurs pianists.



2. This is an excellent book from Schirmer's Chopin collection "Complete ...", in this case "... Preludes, Nocturnes and Waltzes". Really amazing collection of Chopin's master pieces. This book worths every cent you invest in it.



3. i've never thought getting this would be beneficial since there are tons of free resource on the net, but i was wrong. better arrangement, more detail, it's just better for learning and playing. again i'm an beginner, but i like this book so much. chopin all the way!



4. not that i/ll ba able to *play* many of the pieces here. i have always liked the schirmer library series. this has quite a lot in it compared to some volumes.



5. When one plays the music of Chopin the keys on the piano actually become keys.Keys to another universe.This universe is no doubt where he is right now and forever.I do not believe the bar has been raised higher for the piano than Chopin raised it in his 39 years.This is a great bargain as well.I had been playing his Preludes in an old book I had that has now fallen apart from so much use and I gladly would have paid this price for the Preludes alone.I am just now getting into the noctures and the second one,which I believe is in B flat I had heard years ago somewhere and always wanted to know who had composed it.Painfully beautiful.Of course than again so is everything he ever did.Highly recommended.

5 comments about Music in the Western World: A History in Documents.

1. Well...an entertaining and thought-provoking selection of essays and curiosities. It amused me to learn that Shoenberg called Stravinsky (with bitter sarcasm) "Modernsky". Milton Babbitt's notorious "Who Cares If You Listen?" article is followed by an apposite rebuttal evoking (though not alluding to) the second part of C.S. Lewis's brilliant "The Abolution of Man".

   Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.




2. A fabulous collection for professors, students, and amateurs alike. More concise than others out there without sacrificing the breadth and importance of the readings. Editors' introductions are extremely helpful in placing each reading in context. A must-have for evey music lover.



3. This is a particularly fine collection of a couple of hundred readings on Western Music from the ancient Greeks to the 1980s. That is a broad span, but the editors, Weiss and Taruskin, have done a fine job and keep things moving in a lively manner. The energy and vitality of these articles holds the reader's interest and wondering what treasure is coming next.

   Of course, this is a perfect volume for students in courses on music history and music appreciation, but it is also a very fine book for the general reader who is interested in learning more about the history of Western Art Music ("Classical Music").

   What I like about volumes of source readings is the way the writings give a better context and flavor of their time than any later writing. Yes, the editors have to provide some context for us, and the editors do make choices about what to provide to us and they are almost always in translation, but they make a valuable contribution to one's education about the matters at hand.

   This is a fine collection that is edited in a skillful way for readability, breadth, and vitality. Superb job!




4. Music for the Western World is an excellent anthology of source readings in western music history. Texts are well-chosen and entirely relevant to the period being discussed. What's unique about this book is the breadth of issues addressed and variety of sources cited. You get to hear from all sorts of people, from composers, to critics, to philosophers, and the texts offered take the form of letters, articles, reviews, autobiographies. All is given within a clear historical context, with reference to such events as the Reformation, French Revolution, and World Wars. Interesting introductions by editors Richard Taruskin and Piero Weiss (my professor at the Peabody Conservatory) as well as pictures, diagrams, and a good glossary allow this book to go beyond being simply a textbook. Anyone with an interest in music will find it easy to understand and entirely enjoyable.



5. This book was in stated condition and was sent in a timely manner.