Pianism

Yes, this book contains some rare wisdom and knowledge. But what's the point if readers can't understand it? Since this seems to be a vanity publication, it shouldn't be too hard to rewrite/revise it, and republish. If it's *not* a vanity publication, then it's as cheaply made and badly printed as one. In which case, maybe find a better publisher.Here are some early examples for re-thinking, re-expressing, and re-wording the jumbled ideas (and sometimes English-as-a-second-language ways of wording things) that are here presently.BEFORE "Since the sound is already made at the tone spot in descending, one only needs to release the exertion at this spot rather than picking up the fingers after playing". Apart from a general squishy lack of clarity, this makes it sound like my fingers have fallen off.AFTER: "Since sound is produced right as the descending key reaches the tone-spot (2/3 of the way down), you should use your playing finger to accelerate the key only until the tone-spot is reached. At the tone-spot, immediately ease off so that the finger and the key decelerate (for the last 1/3 of the key's travel). Ideally, your finger (and the key with it) will have slowed down to a stop just as the key reaches bottom." That explains what to do without needing to resort to what-not-to-do.BEFORE: "Holding the key down at the bottom after producing a sound [...] is to be avoided at all times.". And then two reasons for that are given, only one of which is related to holding keys down; the other is related to the point about acceleration that I already made in my revision above. This whole paragraph lacks logic and coherence.AFTER: "Remember, you don't accelerate all the way to the bottom. You decelerate at the tone-spot, and reach zero speed at the bottom. And when the key reaches bottom, hold it down (so that the damper is up) with the minimum finger-weight necessary. The reason for these things is that a) you don't have a ton of physical pressure and tension to release before you can hop to the next key, and b) you're not doing anything that'll risk injuring your body."And so on. Just needs a re-think and a re-write. The ideas are fine, they're just obscured by bad communication and bad use of language, and they need too much mining and refining before the brain can internalize them.

Aiko Onishi shares insights gleaned from many years of teaching and performing. Many of her thoughts are very useful and stimulating, such as her ideas about how to approach a brand-new piece, though a few of her technical tips, such as the technique of playing octaves from a wrist "hinge," might bring a certain danger of injury if carried too far. This book would be best taken with a grain of salt, comparing her ideas to those of other teachers and experimenting on one's own, and I would recommend it more to experienced teachers than to students, as a source of inspiration rather than a definitive guide.

Onishi, Aiko, "PIANISM", Anima Press, 1996, 124P., index, no references; originally published in Japanese as "Approach to Pianism", Zen-On Press.Tone (single note, etc.), technique, melody and harmony, interpretational expressions, exercises (stretching, lifting), learning new pieces, memory, imagery (of musical emotions), performing, teaching, pianistic analysis using Chopin, Debussy, Ravel. A compendium of correct methods by a well educated teacher.Has clear discussions of Thumb Over (P. 27), use of Parallel Sets for practicing trills (P.33), double thirds (P. 33), repeated notes (P. 36), etc. Very concise, but profusely illustrated with diagrams and music examples. One of few books with instructions on how to practice. She comes close to, but does not discuss Mental Play.

I bought this book looking to improve my piano playing (I am a professional concert pianist). The glowing reviews of this book made me believe I would really get something out of this book. However, I got unscientific theories about ways to press a key and bizarre diagrams. Really, the time you spend reading this book would be better spent in the practice room. The money you spend on this book can be invested in the stock market because as an aspiring pianist you will need all the extra income you can get.Really, I am a pianist, and I do not recommend this book. You would benefit much more from an actual teacher.

For the intermediate - advanced. Something to aim for even for the novice.

I am a piano teacher so I find this book very informative. Miss Onishi goes into great detail on how to teach advanced repertory. She also explains quite a bit about the action of the piano and how to get the best sound. I keep it on hand for reference in my studio,

The book has illustrations to make things understood. It focuses on playing technique and on how to produce a beautiful tone.

Great book !! My daughter is a classical pianist and loved this !!