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Praise for PIANO TECHNIQUE DEMYSTIFIED: Insights into Problem Solving, with NEW AND EXPANDED CHAPTERS, MORE DETAILED INFORMATION ON FINGERING CONCEPTS. "This book is a delightful collection of helpful insights. Many of the fingerings, note-grouping concepts, rotational ideas and so on make the passages in the examples easier to play than when approached with more traditional ideas," American Music Teacher, Feb./Mar., 2015. Comments from readers: "I've read and re-read your book since receiving it months ago as a gift from a pianist friend. Your advice and instruction have moved from the merely intellectual to the gut level of understanding. And, like that proverbial road not taken, it has made all the difference. Practicing and playing are a joy now that my fingers and forearms are cohabiting and working peacefully together. The keyboard no longer feels like an adversary, but my friend in music-making. I particularly appreciated the psychological insights you offer for performance anxiety, nerves and other demons that afflict most of us. 'The committee' made me laugh and gave me hope: most helpful to externalize all those internalized voices with one, annoying group of malcontents. Thanks for that and all the other intuitive observations about playing. You've been a great help already," Michael in New York City***"After closing the last page [of your book], I was compelled to learn more about the genius who put this information together, in MY language. I want to thank you for doing me such unbelievable service with this book...Your book has turned the tides for me today, and I am so very grateful. In fact, I will be using it as a Christmas gift for all my pianist friends. I have no doubts that they too will find your book to be inspiring and helpful, "Chase in Tampa, Florida***"Thanks for a Great book,"Eric in Rochester, NY*** "I have your book, which I like very much, I would love to see more. Thanks again," Bruce.
If you've ever felt at a loss as to how to achieve the excellence you would like at the piano, then take a look at this book. In this volume you will find the distillation of a life in music, a "how to" for the musician seeking joy in music-making. Here are insights into learning to play using the natural design of the body. Dispel old wives' tales and myths left over from the 18th century harpsichordists. Learn to make accurate leaps, to play fast without feeling hurried. What is practicing and how and why should we memorize music? And how can we put anxiety to good use? What is a good hand position and really, how slowly should I practice? Non-pianists will find ample information on the learning process and many aspects of performing. The author took part in the first Taubman Institute at Rensselaerville, NY, performed in the first masterclass and has participated in many subsequent institutes, studying privately in New York for several years with Edna Golandsky.
About the Author
Unlike life, playing the piano is easy and doesn't hurt. This mantra has carried Neil Stannard through what might seem to others like several lifetimes-performing as a collaborative pianist, soloist, symphony bassist and, through it all, a dedicated teacher. He took part in the first Taubman Institute at Rensselaerville, NY, and though he does not represent the Institute, he has participated in many more at Amherst, studying privately in New York with Edna Golandsky for many years. He has performed internationally with such artists as David Shifrin, Hermann Baumann, Leona Mitchell, Eugenia Zukerman, Clamma Dale and Christiane Edinger in venues from London to Moscow, including Carnegie Hall, the Kennedy Center, the White house, Vienna's Muiskverein, Berlin's Hocshschule and Tchaikovsky Hall in Moscow. He has taken part in the Great Performers at Lincoln Center series, the Berlin Festival, the Vienna Festival, Tage Neue Musik, Marlboro and the New Port Festival. And yes, he has taught continuously through all that. After graduating cum laude from the University of Southern California, a scholarship student of Muriel Kerr, John Crown and Jacob Gimpel, he received a Naumberg scholarship for double bass to the Juilliard School (MS), during which time he performed in the American Symphony with Leopold Stokowski and in the Marlboro Festival Orchestra with Pablo Casals (Columbia Records). It was during this time that he made his New York recital debut at Carnegie Recital Hall as a pianist with violinist Christiane Edinger. Later, he studied piano on a German government grant with Gerhard Puchelt in Berlin, completed a doctorate in piano at the University of Arizona with Nicholas Zumbro and for 13 years taught graduate and under graduate piano at the University of Texas at El Paso, where he was a tenured professor. He now lives and teaches in Los Angeles, where he writes, paints, captures life in photos, plays the cello and, oh yes, still plays the piano with abandon.
If you've ever felt at a loss as to how to achieve the excellence you would like at the piano, then take a look at this book. In this volume you will find the distillation of a life in music, a "how to" for the musician seeking joy in music-making. Here are insights into learning to play using the natural design of the body. Dispel old wives' tales and myths left over from the 18th century harpsichordists. Learn to make accurate leaps, to play fast without feeling hurried. What is practicing and how and why should we memorize music? And how can we put anxiety to good use? What is a good hand position and really, how slowly should I practice? Non-pianists will find ample information on the learning process and many aspects of performing. The author took part in the first Taubman Institute at Rensselaerville, NY, performed in the first masterclass and has participated in many subsequent institutes, studying privately in New York for several years with Edna Golandsky.
About the Author
Unlike life, playing the piano is easy and doesn't hurt. This mantra has carried Neil Stannard through what might seem to others like several lifetimes-performing as a collaborative pianist, soloist, symphony bassist and, through it all, a dedicated teacher. He took part in the first Taubman Institute at Rensselaerville, NY, and though he does not represent the Institute, he has participated in many more at Amherst, studying privately in New York with Edna Golandsky for many years. He has performed internationally with such artists as David Shifrin, Hermann Baumann, Leona Mitchell, Eugenia Zukerman, Clamma Dale and Christiane Edinger in venues from London to Moscow, including Carnegie Hall, the Kennedy Center, the White house, Vienna's Muiskverein, Berlin's Hocshschule and Tchaikovsky Hall in Moscow. He has taken part in the Great Performers at Lincoln Center series, the Berlin Festival, the Vienna Festival, Tage Neue Musik, Marlboro and the New Port Festival. And yes, he has taught continuously through all that. After graduating cum laude from the University of Southern California, a scholarship student of Muriel Kerr, John Crown and Jacob Gimpel, he received a Naumberg scholarship for double bass to the Juilliard School (MS), during which time he performed in the American Symphony with Leopold Stokowski and in the Marlboro Festival Orchestra with Pablo Casals (Columbia Records). It was during this time that he made his New York recital debut at Carnegie Recital Hall as a pianist with violinist Christiane Edinger. Later, he studied piano on a German government grant with Gerhard Puchelt in Berlin, completed a doctorate in piano at the University of Arizona with Nicholas Zumbro and for 13 years taught graduate and under graduate piano at the University of Texas at El Paso, where he was a tenured professor. He now lives and teaches in Los Angeles, where he writes, paints, captures life in photos, plays the cello and, oh yes, still plays the piano with abandon.
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