I've implemented a few of the tips I read in here, and--to me at least--it sounds like my tone has already improved. I can't comment on the more advanced technique advice now, but it sounded rational enough.

Two complaints: one, some of the diagrams at the beginning of the book are confusing. Two, I'm not sure how accurate Sandor's explanation of the learning mechanism is--he goes through the roles of the subconcious, conscious, and unconscious mind, or some such. I was suspicious, but it may be right for all I know. At any rate, it's a minor part of the book, and it erroneous, the falsity may well still be useful.

Sandor thinks that relaxation isn't the key nor is tension, but rather--which sounds quite rational--a mix of the two. He believes many exercises and pianists are misguided in their preaching strengthening the fingers: Sandor argues that there's no need for this, when the upper arms have near limitless energy that simply needs to be tapped.

Coordination is the key. Sandor provides various exercises to improve this, technique by technique: rotation, scales and arpeggios, free fall, thrust, and later chapters touch on various topics.

Myriad musical examples (Sandor believes in using the literature to improve, not various etudes, which teach destructive repetitive mechanics) are provided, mostly Romantics, some Bach. A lot of Chopin, and the Waldstein Sonata again and again.

It's concise, it's approachable, and certainly seems useful. Sandor is clear in his favored technique, and makes it known quite well how to pick it up yourself. His opinions are honest and forthright, his examples usually meticulously remarked upon, and the goals vividly described.

At a brief 200 pages, few pianists have an excuse not to read this book.

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.

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!