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Postscript, Index POSTSCRIPT For years, I’ve been noodling away on this sprawling manuscript. I had no idea how or where I’d publish it and frankly whether I’d be better spending my time practicing. But some inner voice kept me returning to it month after month, year after year. A good musician keeps evolving and in a few more years, I might well write it differently. In particular, I wanted to pass on the wisdom of great pianists. But now it’s time to hand it over to you, the reader. This book would never have happened without the encouragement, support, and sometimes cajoling of family, friends, teachers, and fellow musicians. In 2012, I became a Steinway Artist, and for that I thank a great piano and my intrepid teachers. I first met Karl Ulrich Schnabel while playing in one of his Toronto masterclasses. Our respect (and humor) was mutual, and so I followed him to Italy and New York for a series of life-changing lessons that explored emotions and meaning in music. I later met John Covelli, a dynamic pianist whose fierce sense of rhythm and color derived from his experience as a great orchestral conductor. Closer to home, I was fortunate to study with Lawrence Pitchko, a concert pianist trained in Europe and England with a fierce interest in tone production, rhythm, and color. I cherish them all deeply for their wisdom, talent, humor, curiosity and energizing rage. And then there are the masterclasses. The Glenn Gould School at the Royal Conservatory of Music in Toronto generously welcomed auditors to their masterclasses by world-class performers. There I immersed myself in the wisdom of Leon Fleisher, Andre Laplante, John Perry, Marc Durand, and many others. After each class, I’d rush home to transcribe their words. Among them, Leon Fleisher deserves a special place in my heart. When we moved to San Francisco, I was thrilled to attend his late masterclasses at the SF Conservatory. He is much missed. There are an increasing number of books on the piano. For technical inspiration, I particularly want to thank Alan Fraser for his three wonderful books, videos, online 589 teaching, and Piano Institutes. I also highly recommend the illustrations and explanations in Thomas Mark’s book on Anatomy, and Berman’s book, Notes from the Piano Bench. In the Bibliography, you’ll find references to many other sources, including several earlier books by Ernest Bacon, Leschetizky and others. The internet is becoming an increasingly important source for hearing great performances and masterclasses by foremost performers. Dispel some of the alone- ness of piano study by wandering through the blogosphere where you’ll find terrific online lessons and even companionship in piano groups. I refer you to the wonderful postings by Noa Kageyama, Graham Fitch, Bob Woody, Lisa Spector, and Erica Sipes. Along the way, I took time out to produce a series of ten CDs called Classical Kids. Beethoven Lives Upstairs, Mr. Bach Comes to Call, and Vivaldi’s Ring of Mystery and seven other titles gained over 100 awards and sold over 5 million copies. Along the way, I met some incredibly talented writers, musicians, actors, and technicians: Douglas Cowling, Barbara Nichol, Debra Olivia, Pat Godfrey, Gary Gray, Paul Pement, Hy Sarick, and Michelle Henderson. In terms of my own playing, this project deepened my sense of style while making me a better pianist and hopefully a better writer. Of course, I humbly thank my friends who so enthusiastically contributed their questions, opinions, and discoveries. Intriguingly, many were not pianists but shared a common language of creative thinking. You know who you are, and I’ll not make a list in case I forget someone. Thank you for your company and for joining me on this journey. The world is brighter for your presence. Finally, I’d like to thank my ever-patient family who have watched this project evolve with a mixture of tolerance, humor, enthusiasm, and hopefully pride. I cherish you all: husband Mike, girls Sarah and Kate, and grandchildren Kyle and Brynn. As I once found pinned on their front door, “I love you to the moon and back.” Sue Hammond, 2020 590 BIBLIOGRAPHY Adams, Noah. Piano Lessons: Music, Love & True Adventures. New York: Delta, 1997. Applebaum, Zilberquit and Henry Roth The way they Play. Paganiniana Publications, New Jersey, 1983. Bacon, Ernest. Notes on the Piano. Seattle and London: University of Washington Press, 1963. Berman, Boris. Notes from the Pianist’s Bench. Yale University Press, 2000. Bernstein, Seymour. With Your Own Two Hands. New York: G. Schirmer, 1981. Brower, Harriette Moore. Piano Mastery. New York: Frederick A. Stokes Company, 1915. Bruser, Madelaine. The Art of Practising. New York: Bell Tower, 1997. Cooke, Charles. Playing the Piano for Pleasure. New York: Simon and Schuster, 1941. Crawford, Imreh. Practicing Perfection, Memory and Piano Performance. NJ and London: University of Connecticut, 2002. Elder, Dean: Pianists at Play. Evanston: The Instrumental Company, 1982. Fleisher, Leon and Anne Midgette. My Nine Lives. New York: Doubleday, 2010. Fraser, Alan. The Craft of Piano Playing, a New Approach to Piano Technique. Maryland: Scarecrow Press, Inc., 2003. Fraser, Alan. Honing the Pianistic Self-Image, Skeletal-Based Piano Technique. Novi Sad, Serbia: Maple Grove Music Productions, 2011. Fraser, Alan. All Thumbs . Novi Sad, Serbia: Maple Grove Music Productions, 2012. Gieseking, Walter, and Karl Leimer. Piano Technique. New York: Dover Publications, 1972. Green, Barry. The Inner Game of Music. New York: Doubleday, 1986 Hoffman, Joseph. Piano Playing with Piano Questions Answered. New York: Dover Publications, 1976. Jourdain, Robert. Music, the Brain, and Ecstasy. New York: William Morrow and Company,1997. 591 Kind, Ethan: An Alexander Technique and Triceps Approach to Piano Technique, Kindle Edition. Loc 1826. Klickstein, Gerald. The Musician’s Way, A Guide to Practice, Performance and Wellness. London. Oxford University Press, 2009. Lhevinne, Josef. Basic Principles in Pianoforte Playing. New York: Dover Publications, 1972. Marcus, Adele. Great Pianists Speak. Neptune, NJ: Paganiniana Publications, 1979. Mark, Thomas: What Every Pianist Needs to Know About the Body. Chicago: GIA Publications, 2003. Manschardt, Thomas. Aspects of Cortot. Hexham, Appian Publications & Recordings, 1994. Matthay, Tobias. The Visible and Invisible in Pianoforte Technique. London: Oxford University Press, 1972. Noyle, Linda J. Pianists On Playing, Interviews with Twelve Concert Pianists. Metuchen, NJ: The Scarecrow Press,1987. Ristad, Eloise. Soprano on her Head. Moab: Real People Press, 1982. Rosen, Charles. Piano Notes, The World of the Pianist. New York: Free Press, 2002. Rosen, Charles. The Classical Style, Haydn, Mozart, Beethoven. New York: W.W. Norton & Company, 1972. Schonberg, Harold. The Great Pianists. New York: Simon and Schuster, 1963. Sherman, Russell. Piano Pieces. New York: North Point Press, 1997. Sipes, Erica Ann. Inspired Practice, Motivational Tips and Quotes to Encourage Thoughtful Musicians. Erica Ann Sipes, 2013 Westray, William. The Perfect Wrong Note: Learning to Trust your Musical Self. Bradford: Amadeus Press, 2006. Wolff, Konrad. The Teaching of Artur Schnabel. New York: Praeger Publishers, 1972 592 ARTICLES, BLOGS, and VIDEOS Fitch, Graham. Great videos on Practising, numerous articles. Fraser, Alan. The Craft of Piano Playing: A New Approach to Piano Technique (DVD). Kageyama, Noa. The Bulletproof Musician: bulletproofmusician.com/blog/. New York. Kuerti, Anton. The Artist’s Life. Toronto: The Globe and Mail, April 28, 2001. McLachlan, Murray. International Piano, March/April 2011. Penfield, William. The Cerebral Cortex of Man (monograph). Rosen, Charles. On Playing the Piano. New York Review, October 21, 1963. Schnabel, Karl Ulrich. Con Brio: Karl Ulrich Schnabel: Master Teacher of Piano. The Schnabel Foundation (DVD). Sipes, Erica. Beyond the Notes: ericaannsipes.blogspot.com. Spector, Lisa. Left Hand Lemonade, Ninja Tricks, Blog: lisaspector.com/blog/. Taubman, Dorothy. The Well Balanced Pianist. Programs, videos, etc. Wilson, Dr. Frank. Overview of how brain, muscles and nerves are wired together (pdf): 593 INDEX Accents, 152, 181, 243, 298, 305, 309-310, 494 Chopin, 16, 21, 60, 73-74, 90, 94, 102, 110, 115, Adams (Noah), 12 155, 194,247, 251, 253, 256, 275, 275, Accompaniment, 110, 194, 230, 233, 236-7, 244, 289, 311, 322, 400, 428,441, 463,499, 249-250, 251-254, 261, 307, 315, 387, 538, 583 433, 428, 478-479, 490, 533 Chords (sampling), 56, 61, 74, 86, 91, 99, 112, Accuracy, 73, 144-145, 153, 196-197, 473, 482, 163-170, 172, 193,203, 231, 262-267 , 494, 534, 542 305, 308, 328, 381-2, 419, 431, 482 Acoustics, 17, 418, 554, 572 Climax, 13, 169, 224-228, 231, 241, 265, 304, Agility, 56, 84, 115, 122, 125, 130, 140, 149, 150, 427, 465, 490, 500, 554,-5, 565 162, 166, 180, 195, 356, 451 Clumping, 121, 231-2, 351, 354, Agitato, 269, 296, 294 Cognition, 18, 344-392, 448,495, 537 Alberti Basses, 231, 257-258 Color, 307, 339-343, 430 Anagnoson (James) 248, 448 Concentration, 230, 356,357, 359-363, 442-443, Applebaum, 540, 577 448, 452, 505, 519, 534,,552,587 Arpeggios, 90, 157-163, 382, 467, Cooke (Charles) 244, 366, 448, 452, 457, 465, 499 Bacon (Ernest), 112, 126, 154, 187, 209, 230, Covelli (John), 11, 152, 197, 241, 251-252, 295, 252, 257, 285, 307, 309, 319, 359, 396, 423, 519, 538, 575, 589 399, 405, 415, 430, 437, 440, 483, 488, Crawford, Chaffin, Imreh, 230, 241, 349, 353, 497, 527, 563, 565, 586, 590 360, 376, 380, 384, 391, 490, 502, 522, 565 Berman (Boris), 43, 52, 88, 90, 95, 112, 126, 129, Drift Points, 237, 268-269, 275-279, 281 137, 191, 246, 319, 331, 366, 405, 425, Durand, 10, 25, 48, 70, 264, 294, 311, 317, 354, 440, 515, 519, 540, 554, 590 433, 499, 589 Bernstein (Seymour), 421, 458, 519, 569 Dynamics, 167, 173, 177, 182, 236-7, 253, 260, Body Crossings.
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