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What Every Pianist Needs to Know About the Body, by Thomas Carson Mark

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Review

"There is scarcely a keyboard player alive who will not benefit greatly from the information in this book. ...an indispensable, potentially life-changing resource!"The American OrganistJuly, 2004"Every pianist, organist, and harpsichordist should read this book; it offers vital information for teachers and students."Pastoral musicOct.-Nov. 2003"Here is a book that can help all players of keyboard instruments avoid injury while playing with the utmost ease of motion. . . . Wisdom and valuable pedagogical advice are evident throughout this book . . . highly recommended."The DiapasonJanuary, 2004

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About the Author

Thomas Mark teaches piano and body mapping. He lives in Portland, Oregon. Roberta Gary is a professor of organ and the head of the Keyboard Division at the College-Conservatory of Music of the University of Cincinnati. She lives in Cincinnati, Ohio. Thom Miles is the director of music at Isaac M. Wise Temple and an assistant organist at Christ Church Cathedral, Cincinnati. He lives in Cincinnati, Ohio.

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Product details

Paperback: 155 pages

Publisher: GIA Publications; 5883 edition (April 1, 2004)

Language: English

ISBN-10: 1579992064

ISBN-13: 978-1579992064

Product Dimensions:

8.5 x 0.4 x 11 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

60 customer reviews

Amazon Best Sellers Rank:

#78,657 in Books (See Top 100 in Books)

I'm not even finished with this book yet and am already writing a review...From the outset of learning piano I've experienced pains throughout my body, no doubt attributed to poor technique. At first I thought it was normal, a beginner's way of having to "work through the pain" until the parts of my body that are used to play the piano became stronger. That was until it only got worse, to the point where I realized something was wrong and I had to do something about it.I brought the issue up with my piano teacher, who simply replied, "You just have to loosen up!". After several more weeks of trying to figure out exactly what that even meant, my condition only worsened.And then I came accross this book with a search on Amazon, which I eventually purchased (after much research with reviews, etc.).Since receiving it (I'm only a little more than halfway done), I can already attribute my progressive lessening of experiences with pain at the piano to the knowledge I've gained from this book.I quickly learned how uninformed (and sometimes, misinformed), I was in almost every element of piano playing technique. This book opened my eyes to all the faulty use of body mechanics I had already adapted, and showed me how to return to the fundamentals of posturing (both on and off the piano).If I were a piano teacher, this would be the first book I would recommend ANY level student, for it remarkably examines the foundation from which only great technique and pain-free enjoyment of playing this beautiful instrument can be achieved.

This book is about kinesthetics and leveraging your entire body for keyboard playing. It's not an exercise book. It's a meta-technique book. You probably should read this as a beginner but you probably won't understand it till you're somewhat advanced. There are dozens of tips and insights that you can incorporate into your playing if you want to. There are several things you can use if you are injured and I hate to say that because you should never get injured just playing. But the truth is many do endup hurt and this can help you recover. I had carpal tunnel in both wrists and right shoulder after 35 years in a computer desk job. After 8 months of 4 hours a day piano practice with this book, it's healed.

Too often in many activities, people don't recognize their bad habits until attention is called to them. Such was the case with me, but studying this book and applying the knowledge therein has done wonders for my playing.I injured myself shortly after purchasing this book (acute muscle injury to my right forearm and acute ulnar nerve injury at my left forearm - at the same time!), and a day later, after reaching the section regarding the forearms, I discovered why it happened. Since adjusting the body map of my forearms according to the information in the book, my playing - in spite of the fact that my injuries are still in the healing stages - no longer causes me pain.No less, the proper mapping of my entire upper body has improved fluidity, speed, accuracy, and tone quality in my playing.The book is coherently laid-out, as well as clear and concise in its descriptions. The different areas of the body are logically sectioned out, and the subsections are organized in the same manner.The anatomical diagrams are, for the most part, very easy to follow. A few of them were unclear to me, but when supplemented by the reading, they were not problematic.Abstract knowledge is not the only thing this book has to offer. Detailed activities are described and suggested at many points in the text so you may directly explore the structures and movements of your body while reading.Further along in the book are sections on how to map breathing (in order to prevent more unnecessary tension) and the piano itself (to be an extension of the body map).The final chapter is devoted to discussing injury, including the causes and types that occur.The principles contained in the book are useful not only for playing the piano, but for all day-to-day movements. In fact, it seems to be crucial that one apply them universally at all times to reap the maximum benefit and more quickly adapt to these new (read: natural) ways of movement.I've read some complaints in other reviews that the book doesn't focus on technique. This is true, but addressing technique is not the book's intended purpose - at least not directly. The knowledge in this book does, however, provide a solid foundation upon which you can more rapidly and effectively improve your technique.

My teachers have always told me to play with less tension, which I could feel in my wrists and forearms. I tried to consciously correct the problem with technique, but I had no idea HOW to. I searched the internet but solutions were always vague and left me puzzled. This book has been essential to me, I regret that I waited until I became injured before I acquired a copy. It is composed in a very constructive way, building a comprehensive knowledge of anatomy and mechanics with simple, interesting facts, supplemented with suggestive processes to make you aware of your anatomy. It also includes a lot of the Alexander Technique. Besides debunking various posture myths, it guides the reader in developing the kinesthetic sense (being aware of your body structure), body mapping (knowing how your personal structure works), setting optimal bench height, mechanical advantage, weight support through the major axes of the body, and much more. It specifically describes problems that arise from misconceptions in body mapping and body mechanics, and the injured pianist will be enlightened by the discussion of common injuries and ways to safely recover from them. I wish my teachers made me study this text when I was learning as a boy, the language is simple enough for a child to understand, the pictures are fantastic, and the level of awareness and knowledge I have gained from my first reading is profound. It applies to all areas of anatomy, but specifically dealing with common promblems a pianist faces makes it invaluable to your library. Highly recommended, an amazing resource.

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