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Rating: 
Summary: Book Description, Author Information
Review: A revealing introduction to the fundamental relationships among motions and emotions, the keyboard itself and the human performing mechanism. Sandor discusses basic technical patterns and their application to classical repertoires and provides the means for mastering the complexities of good musicianship. Includes line drawings, photographs, and many musical examples. Gyorgy Sandor studied at the Royal Academy of Music in Budapest with Béla Bartók and Zoltán Kodály.
Rating: 
Summary: Excellent guide to piano technique
Review: 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!
Rating:
Summary: Excellent guide to piano technique
Review: 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!
Rating:
Summary: Solid Common Sense
Review: 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.
Rating:
Summary: Solid Common Sense
Review: 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.
Rating: 
Summary: A solid read
Review: This book is worth reading for beginners and intermediate students of the piano. For the advanced student, it should be relatively basic. It is very well organized, and presents many fundamentals of piano technique. My biggest problem with the book is that it is a little dry, i.e. does not really inspire. For that, turn to Neuhaus and Bernstein. I also strongly disagree with the concept of the 'hand drop' technique (by pure gravity alone). This is nonsense, nobody plays like that, although they might THINK that they do - which is altogether something different!
Rating:
Summary: Exceptionally useful book on efficient technique
Review: 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.
Rating:
Summary: Exceptionally useful book on efficient technique
Review: 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.
Rating:
Summary: Technique based on anatomy and physiology
Review: 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.
Rating:
Summary: A must-read for healthy, efficient piano technique
Review: 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".
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