Neuhaus taught at the Moscow Conservatory and his pupils included some of the greatest pianists of the twentieth century: Emil Gilels, Sviatoslav Richter, Nina Svetlanova, Alexei Lubimov and Radu Lupu. His legacy continues today and many teachers around the world regard this book as the most authoritative on the subject of piano playing.
A4 trim size - 8.27" x 11.69" (21.006 x 29.693 cm). "The Art of Piano Fingering - Traditional, Advanced, and Innovative" is a new book by virtuoso concert pianist Rami Bar-Niv.The 212-page book was first published in February 2012 and it is the first of its kind and scope in the history of piano playing.The book is intended for anyone who plays the piano, from children to college students, from adult amateur to professional piano teachers and performing pianists. The book teaches how to create your own efficient and injury-free piano fingering, starting with traditional, continuing with advanced, and concluding with innovative fingering.The book offers useful exercises and in addition to fingering issues it also deals with related piano playing techniques, phrasing, and interpretation. The text is illustrated with countless score samples, pictures, and diagrams. Endorsements/Reviews:***"The Art of Piano Fingering by Rami Bar-Niv, fills a tremendous void in the realm of the pianistic world. Published in 2012, it is the first book of its kind in the 303 year history of the piano. Order a copy; you will be immensely grateful you did."Dr. Walden Hughes, Professor of Piano,Northwest Nazarene University.***"Bar-Niv's book is superbly indexed and valuable as a reference source... he also analyzes difficulties, formulates solutions, and even suggests exercises to help us master difficult solutions... Bar-Niv suggests ingenious fingering solutions... Anyone who plays the piano with serious intentions can benefit from reading and studying this book." Lyn Bronson, CA Music Teacher, Summer 2012. ***"This book is truly the first of its kind, and it is perhaps three hundred years overdue. The depth of coverage will surprise even the most accomplished pianists."Jeremy Todd, adult piano student.***"Rami's new book on fingering is a "must have"! I highly recommend it to everyone."Kevin Coan, Moderator of the E-group "Piano-Teachers". ***"I highly second that recommendation.Linda Kennedy, piano teacher." ***"Bar-Niv gives many wonderful fingering tips for students, teachers, and perofrmers.Becky Hughes, MTNA's "American Music Teacher".***"You must not miss this outstanding book on piano fingering. Rami Bar-Niv's comprehensive coverage of the subject belongs in every piano teacher's library. Reward yourself with this gem. We have waited 300 years for this book on piano fingering so read this review and then order it promptly. You will not only be richly rewarded with a resource you will refer to frequently but also take great pleasure in reading its clear, intriguing text. Highly recommended. Though this is the first known book devoted to this essential aspect ofachieving beautiful, artistic, comfortable study and performance, it sets a high standard with its clear, comprehensive coverage of the subject. Do not hesitate to purchase this book for you will use it often to find a storehouse of solutions to keyboard puzzles.The Art of Fingering is an adventure into the resources of the human hand as well as how toteach these explorations inventively and thoroughly from the elementary to the advancedlevels. The piano has been with us for three centuries now, making this first book that isdevoted to fingering a most valuable and much needed resource."Mary Gae George, NCTM,Co-author of Artistry at the Piano.
So many of the great pianists and teachers have come out of Poland and Russia (Rubinstein, Anton as well as Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), yet we know little about their methods of learning and teaching. George Kochevitsky in The Art of Piano Playing supplies some important sources of information previously unavailable in the United States. From these sources, tempered by this own thinking, Kochevitsky formulated a scientific approach that can solve most problems of piano playing and teaching. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate work at Moscow Conservatory. After coming to the U.S., he taught privately in New York City, gave a number of lectures, and wrote for various music periodicals.
An illustrated guide for the amateur and professional musician that teaches us how to transform practicing from an often laborious activity into an exhilarating and rewarding experience Foreword by Yehudi Menuhin • “Give this book to any musician you love and to any person who loves what music does for them and for the world.”—Richard Stoltzman, clarinetist In The Art of Practicing, acclaimed pianist and teacher Madeline Bruser combines physiological and meditative principles to help musicians release physical and mental tension and unleash their innate musical talent. She offers practical techniques for cultivating free and natural movement, a keen enjoyment of sounds and sensations, a clear and relaxed mind, and an open heart and she explains how to: • Prepare the body and mind to practice with ease • Understand the effect of posture on flexibility and expressiveness • Make efficient use of the hands and arms • Employ listening techniques to improve coordination • Increase the range of color and dynamics by using less effort • Cultivate rhythmic vitality • Perform with confidence, warmth, and freedom Complete with photographs to show essential points of posture and movement for a variety of instruments, this is the definitive guide to turning practice from a sometimes frightening, monotonous chore to a fun, fulfilling activity.
A long with "careful judgement and genuine love of the subject" (Library Journal), David Dubal brings unparalleled expertise as a concert pianist, Juilliard faculty member, and former music director of a major classical music station to this second edition of his definitive guide to the piano. Here are enlightening profiles of history's greatest concert pianists from Clementi and Mozart to the major artists of the twentieth century. Here, too, in alphabetical order by composer, are the masterpieces of the literature, solo and concerto, a discussion of the place of each piece in the composer's oeuvre, and a list of recorded performances that "show the composition in its most diverse moods." Updated to include more than seventy additional pianists and hundreds of new CDs, this is a guide piano teachers, concert-goers, and other devotees of keyboard virtuosity should find "among the best read and most useful books on their personal reference shelves" (Booklist).
This is the first book that teaches piano practice methods systematically, based on mylifetime of research, and containing the teachings of Combe, material from over 50 pianobooks, hundreds of articles, and decades of internet research and discussions with teachersand pianists. Genius skills are identified and shown to be teachable; learning piano can raiseor lower your IQ. Past widely taught methods based on false assumptions are exposed;substituting them with efficient practice methods allows students to learn piano and obtainthe necessary education to navigate in today's world and even have a second career. See http://www.pianopractice.org/
An essential resource for scholars and performers, this study by a world-renowned specialist illuminates the piano music of four major French composers, in comparative and reciprocal context. Howat explores the musical language and artistic ethos of this repertoire, juxtaposing structural analysis with editorial and performing issues. He also relates his four composers historically and stylistically to such predecessors as Chopin, Schumann, Liszt, the French harpsichord school, and Russian and Spanish music. Challenging long-held assumptions about performance practice, Howat elucidates the rhythmic vitality and invention inherent in French music. In granting Fauré and Chabrier equal consideration with Debussy and Ravel, he redresses a historic imbalance and reshapes our perceptions of this entire musical tradition. Outstanding historical documentation and analysis are supported by Howat’s direct references to performing traditions shaped by the composers themselves. The book balances accessibility with scholarly and analytic rigor, combining a lifetime’s scholarship with practical experience of teaching and the concert platform