The Piano Handbook: A Complete Guide for Mastering Piano Hardcover – December 1, 2002

The book begins with a beautifully illustrated history of the piano. The author follows with sections covering Posture and Technique, Hand Positioning/Fingering and Reading Music: Pitch and Rhythm. It is essential to understand the concept of Rhythm. Exercise 1.2 has 3 examples, total. One in 2/4, 3/4 and 4/4 (Each time signature has 8 bars of notation). MAKE SURE you are completely comfortable with these Rhythm exercises before venturing into the playing exercises or else you may become lost, frustrated and then give up. It may be a good idea to purchase an additional book on reading music, depending on how far you wish to take your musical learning. For example, in Ex. 1.10 "Victory March" (in 2/4), the first measure is a 'pickup measure' which means that (for this song) we start playing on the count of "2" instead of "1".Currently I am nearing the end of Unit One in Section One, which includes Nine Playing exercises. For the first six, you play pieces using both hands but at separate times. For each succeeding piece, you learn new techniques which prepare you for the next.For the last three exercise, you begin to play with both hands at the same time, for example:#7. Ex1.12 "Roundabouts" p.50You play virtually the same thing with both hands but with slight and subtle differences.. a good one to start with.#8. Ex1.13 "Wedding Bells" p.50On paper it's a simple exercise with just eight measures of quarter, half and whole notes except that you are now playing completely different things with both hands. A perfect exercise to get your brain thinking. Afterward, you feel like you've made a breakthrough. A pivotal moment but just the beginning...#9. Ex1.14 "Morning Hymn" p.51A pretty melody and a good followup.. perfect.The author does a very good job, in my opinion, in holding your hand and at the appropriate time, letting go to let you swim on your own. However fear not because as you slowly improve your skills, he once again holds your hand but you are expected to use what you have learned. This thought occurred to me over and again as I got better and gained confidence. This becomes less and less apparent, however, as we move further and further along.The pages of this book are printed on beautiful semi-gloss paper. It makes for a durable finish, however it does make erasing penciled-in notes somewhat difficult. (I take a lot of notes and write heavily in this book so keep an eraser handy, just in case). Also it is a good idea to slip a few sheets of thick typing/printer paper behind your page to avoid any 'bleeding' to the following page.One thing I recommend which the author does not mention.. and that is to practice with a METRONOME. It is an extra expense (between $20-$30) but worth the investment especially if serious about learning to play.For example: Korg TM-40 Large Display Digital Tuner and MetronomeHere's my process for learning a new piece:1. Clap out the rhythm for each clef separately. Go through the entire notation from beginning to end.2. Play each measure - one clef at a time - going slowly. Play through the entire notation from beginning to end. Don't worry about rhythm at this point. This will give you a 'feeling' and 'overall picture' of the song before trying to commit to memory.* DO NOT MEMORIZE THE NOTATION BY LEARNING IT ONE MEASURE AT A TIME *IMPORTANT - Pay attention to the finger markings on the page. The author provides the numbering but leaves some of them blank when it becomes repetitive. He expects the student to fill in the rest. Generally, I fill in these blanks while going through the notation for the first time. It really does help to visualize playing the new notation.3. After you can play both clefs separately, it's time to play both clefs at the same time - DO NOT WORRY ABOUT MISTAKES and about playing too smoothly at this early stage - As your reading improves, this step will become less difficult!4. Now it's time to really get serious and practice with your metronome. Start at the slowest speed working your way forward - DO NOT RUSH THIS STEP.5. After you can play both clefs at the same time with little or no problems at 40-50 bps, go find the CD and learn what speed the author is playing at. If you have a digital metronome, you can 'tap it out' by following along with the first few measures.. or if you are using something non-digital, just find the closest speed. Either way, write this number in your book for reference.. for example: Tempo = ?(*NOTE* Generally, the speed or "tempo" of a song is indicated by a phrase rather than a number - This topic is lightly covered on page 68 in Unit Three, Section One.)This step is a learning tool and we are just using this number as a 'target' speed for reference. (see next step)6. Now, the important part: PRACTICE PRACTICE PRACTICE until you can play the entire song at the 'target' speed mentioned in the previous step. Generally, before I begin practice on a new day, I will play each clef separately, at a slower tempo rate then where I ended the day before. (In the final stages this will not be necessary) I also know that it doesn't do any good to try and 'learn too much, too fast' - It is better to "Let it Happen" rather than trying to "Force it". Your brain needs time to absorb what you have learned. If you get stuck on one particular measure, just stick with it until you can play smoothly.. or take a break or play something else and just come back to it later. If you get confused or skipped a step, go back to playing one clef at a time.7. *OPTIONAL* Go to a remote location (a community center, etc.) that has a piano and play without disturbing others. In time, you may find yourself making new friends.Additionally, while learning each exercise, I am also writing them down on staff paper in a manuscript book. This gives me an additional understanding of what exactly I am doing and what I am learning. This is helpful since I am also studying music theory. A book on notation will help ensure that you are writing it correctly, for example: Norton Manual of Music NotationYou may be able to find a good deal on a used book, or visit your local library.I also bought two inexpensive "Beginning Classical Piano" books which I read, as I would read a novel, in order to sharpen my skills. Once I get far enough in my playing skills, I will begin to attempt these pieces. (without the steady hand of Carl Humphries to help, but that is the whole point.)For further motivation, I am using certain pieces from the book as 'Benchmarks'. For example, in learning to use both hands, the first benchmark is the song called "Greensleeves" (Ex. 2.2) which begins the second unit of section one of the book. Looking ahead, further pieces include 'Fur Elise' (Ex. 5.4), 'Prelude in C' (Ex. 8.7) and 'Gymnopédie No. 1' (Ex. 11.5) as examples.8. As the very last step before moving on to the next piece, I play along with the example on the CD to make sure I have the correct "feeling".It is at this step, that I write out the notation in a separate book, for example: Notenblock Staff PaperFinally, here is the complete list of songs that you will learn after going through the entire book. "Classical" is not the only style of playing that is covered:01. Ex. 1.6 "Frere Jacques" p.4602. Ex. 1.7 "Oranges and Lemons" p.4703. Ex. 1.8 "Fairy Dance" p.4804. Ex. 1.9 "Bugle Call" p.4805. Ex. 1.10 "Victory March" p.4906. Ex. 1.11 "Soldier's Song" p.4907. Ex. 1.12 "Roundabouts" p.5008. Ex. 1.13 "Wedding Bells" p.5009. Ex. 1.14 "Morning Hymn" p.5110. Ex. 2.2 "Greensleeves" p.5611. Ex. 2.3 HENRY PURCELL "Minuet in A Minor" p.5812. Ex. 2.4 JS BACH "Minuet in G Major" p.5913. Ex. 2.6 "Song of the Lonely Beetle" p.6014. Ex. 3.1 HENRY PURCELL "Air in D Minor" p.6915. Ex. 3.2 "Gnome Dance" p.7016. Ex. 3.3 AMADEUS MOZART "Minuet" p.7117. Ex. 3.4 JOSEPH HAYDN "Allegretto" p.7218. Ex. 3.5 "Somersaults" p.7319. Ex. 4.1 MUZIO CLEMENTI "Un Poco Adadio" p.7520. Ex. 4.2 JS BACH "Musette in D" p.7621. Ex. 4.5 SCHUMANN "Humming Song" p.7822. Ex. 5.3 "Wheelbarrow Man" p.8423. Ex. 5.4 LUDWIG BEETHOVEN "Für Elise" p.8624. Ex. 7.6 "Clowns" p.10425. Ex. 7.7 "Country Gardens" p.10526. Ex. 8.7 JS BACH "Prelude in C" p.11427. Ex. 8.10 BURGMÜLLER "Ballade" p.11928. Ex. 10.1 ROBERT SCHUMANN "First Loss" p.13529. Ex. 10.2 HELLER "Avalanche" p.13730. Ex. 10.3 Staccato Note Study p.13931. Ex. 10.5 JOSEPH HAYDN "Allegro in G" p.14132. Ex. 11.3 JOSEPH HAYDN "theme Sonata in A" p.15233. Ex. 11.5 ERIK SATIE "Gymnopédie No.1" p.154-534. Ex. 11.6 CPE BACH "Solfeggio" p.15735-36. Rock ballad/shuffle p.16537. Country Shuffle p.16538. Orleans p.16639. Cajun p.16640. Straight-eight boogie p.16641. Get down rock p.16642. Country p.16643. R&B p.16644. Gospel waltz p.16745. Straight-ahead gospel p.16746. Funk p.16747. "Lullaby" lead sheet p.17048. "Lullaby" embellished arrangement p.17249. Ex. 13.1 MUZIO CLEMENTI "movement Sonatina in G" p.177-950. Ex. 13.3 AMADEUS MOZART "Sonata in C" p.182-551. Ex. 14.1 JOHANNES BRAHMS "Waltz in D Minor" p.19152. Ex. 14.2 FRANZ SCHUBERT "Impromptu in A flat" p.19253. Ex. 14.3 FRÉDÉRIC CHOPIN "Prelude in E Minor" p.19454. Ex. 16.1 JS BACH "Invention in C" p.213-455. Ex. 16.2 The Entertainer p.216-756. Ex. 16.3 Octave study C sharp Minor p.21857. Ex. 16.4 BEETHOVEN "Scherzo No.2 Op.33 in C" p.22058. Ex. 16.5 BEETHOVEN "C Minor Sonata Op.13 'Pathétique'" p.221-259. Ex. 16.6 BEETHOVEN "Andante No.11 Op.119 in B flat" p.22360. Ex. 17.1 CLAUDE DEBUSSY "The Little" p.227-861. Ex. 17.2 ARNOLD SCHOENBERG "Opus 19 No.6" p.23162. Ex. 17.3 BÉLA BARTÓK "Change of Time" p.23463. Salsa montuno p.24064. Latin Rock p.24265. DUKE ELLINGTON "Sentimental Mood" p.24566. BILL EVANS "Sentimental Mood" p.24567. Ex. 18.4 PAUL DESMOND "Take Five" p.256-768. Two-handed linear groove p.25369. Drum chart as piano dance groove p.254ADDITIONAL NOTES:· The book is spiral bound which is a HUGE plus.· Numerous playing exercises (non-CD) extend throughout the book.· Lots of interesting biographical information about the Composers are included.· Thirty pages of reference material is located at the back.· It is important to read each section carefully and complete each exercise.· Count progress in 'steps' and your confidence and interest should grow.· Expect to spend 2 or more YEARS getting through the entire book.· Playing the piano is a lifetime activity .. enjoy the process!· The songs on the CD are enjoyable listening to while doing other activities.-----For more information, see the 'Forum' entitled "A Discussion in Progress" at the bottom of this product page.. or copy/paste the following into the address bar of your browser:[...]~

Finally, a book that challenges and interests me right from the start! Thank you so much, Carl; I hope wherever you are, you are reading this. Even the negative reviews of this book have me excited, since it's perfect for my desires. I have only finished the first Unit, but in my opinion that's the "make-or-break" section of a method book. Each exercise really works your thinking skills and provides interesting challenges. Even the simple exercises throw in slight twists, like finger position changes, or eighth notes on the left hand for a measure, and so on.Finally, the melodies are something I can have in my head without going nuts! That's huge for me, because the tune will echo in my head after I've learned the basic melody, and if it's a good tune (even though basic), it'll draw me back to the piano to play it out one more time. If it's a horrible little kid's tune, I have to turn on the radio for my MMRT (mental music replacement therapy), and I sure don't feel inclined to practice it. As adults, aren't we picking up piano because we are musical critters? This book rewards the musical person in me and my thinking abilities.As an example, the last song in Unit 1 is a build-up of your previous practice, as you would expect. Do you know how many times I've slogged my way through method books to the last "big" piece, only to find it's something like "Heart of My Soul" or "Kuumbaya." GAH!! That's my cookie for getting through the Unit? (Oh, blast, now *those* tunes are in my head.) I was so thrilled, when, after playing the left hand notation and then the right hand notation, the piece in this book emerged as sweet, simple melody, kind of like one you would hear in a Jane Austen movie, and certainly one I would be happy to play in front of others! (Who would ever burden their friends with a novice rendition of Kuumbaya?)One thing I am curious about in this and other method books. Why have readers practice the piece first with the right hand melody and then the left? I do it in reverse, since my left is clearly the least flexible and the neuro-synaptic memory paths the least developed. This is ironic, given that I've played guitar for many years, so you think that'd give me a leg up, but man, my left hand cannot dance!Oh, yes, and if you want to gauge if this is the right book for *you*, I've played guitar for quite a few years, so I'm fairly comfortable with treble clef notation, and I've also attempted--at two separate times--to learn piano with different methods, such as the _Play By Choice_ and the Hal series. So, I've had some exposure to keyboard. If you are a total novice, I would get a very slim intro book and work that one first, but if you are a *thinking* total beginner, get the slimmest intro book you can find, because too many adult method books are not for adults, imo.Both of the other method books just left me discouraged because there was so MUCH ground to cover before interesting material came up. I really had to slog through the exercises, and my motivation gradually declined. My guess is that a lot of piano method books are originally designed for children and then re-purposed for adults, and that just didn't work for me.Finally, this is simply a beautifully bound book, and the spiral back very clever. What a good investment.

This book offers a coherent system of learning the piano and music theory for those who prefer to self-teach. It's geared toward a more mature audience and presents in-depth explanations of most concepts. The book begins with a history of the piano, which I found interesting, but not useful for learning to play the piano. The author then gives the basics of classical theory, moving into jazz/rock/blues harmony and beyond.I particularly like the fact that this book provides suggested fingerings for right AND left hand for nearly every scale and arpeggio beyond the single octave. Many sources I've encountered present one octave fingerings, and often times only for the right hand. Since I am already an accomplished bassist and guitar player, this helped me overcome my technical limitations to quickly play the material I already knew on fretted instruments.The CD gives human performances of the exercises which help with understanding the dynamics of the written music. That is, how the pieces sound as actual music and not just a technical exercise.This book features a hardcover and is spiral bound so the pages lay flat. It's sort of a nuisance when you close the book, but great for actually using the book on a music stand.I didn't have any trouble with the European Vs. American terminology. Although, I do giggle when I read the word crotchet.Crotchet. Lol.