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(Instructional). This method is a truly entertaining approach to learning how to play the piano. Written by Ward Cannel of the Piano Consortium, the method breaks down music theory into visual concepts which are fun and easy to grasp, so you can learn to play the music you want to play! Perfect for those piano lesson dropouts!
- Sales Rank: #1122604 in Books
- Published on: 1978
- Ingredients: Example Ingredients
- Number of items: 1
- Binding: Hardcover
- 239 pages
Most helpful customer reviews
4 of 4 people found the following review helpful.
The Most Important Music Book I Ever Read
By Modern Blue
My main instrument is the guitar. So how can I say this piano book is the most important music book I ever read? It's because the principles expressed here extend far beyond the piano.
I'm not sure what originally drew me to it in the first place. I think there was a reference to it in another book I was reading. When I saw it had been in print since 1981 that also made an impression. My favorite guitar method book was written in the 1960's and it's outstanding. The longevity of a music book often speaks for it's relevance and value. And I wasn't disappointed in this case.
The premise of the book is that it "rebels" against conventional wisdom, or the established classical learning that prevailed around the time it was written. The main message I carried away after reading it was "if it sounds good it IS good." It doesn't matter whether it's theoretically correct. Just let your ears be the judge. Theory geeks aren't going to like this book at all. But I got it. And it has had a huge impact on my playing ever since.
I read through a long list of theory books before and after reading this book. By the way, this is not a theory book per se. At one point I said "enough is enough" and hung all the theory and just started playing. Something I came to realize about theory is that it's a way of interpreting and "codifying" if you will, what other skilled composers have written and played in the past. It helps to have some kind of starting point, or frame of reference, if you want to write and play yourself. So theory provides a structured way of learning and understanding how music is composed.
But theory will only take you so far. I think way too many people miss this important point. It's theory for the sake of creating and playing music, not theory for the sake of being theoretically correct and perfect. Eventually you have to start trusting your ears and your feelings and see where that takes you with your music. This book helped me do just that. And that is why I say it's the most important music book I ever read.
4 of 4 people found the following review helpful.
How to for Popoular Music
By Rearden Steel
The book is for people who already know how to play classical music but never learned how to develop a simple melody line into a more interesting score. This is the province of the fake book. Accordingly, the book could have been titled How to Play from a Fake Book for classical Pianists.
The book is wordy compared to many. But, that can be an advantage. Marx explains each concept and new step in detail so there can be no doubt of your understanding of his point before he moves onward.
I found the attempt at humor to be distracting as well as making the book longer than it had to be. This being a review of the third edition of the November 1976 issue. Also this edition has no index.
What makes the book so useful is that of all the topics that could have been introduced, only those that are relevant to the author's purpose are used and they are used immediately following a bit of theory.
At least one review faults the book since the concept of relative minor chords is not covered in detail. To that I would say that for a book of this nature one does not expect exhaustive explanations of music theory.
It is interesting that modern day popular music traces its routes all the way back to J.S. Bach, Brahms, Beethoven and others as is shown by way of example throughout.
The development uses the concept of stratification of the keyboard first in a simple way and then gradually developing more complexity until finally arriving at the use of the circle of fifths for the last examples.
If you have had problems grasping the concept of syncopation, then on this topic alone the book is worth the price of admission. I say this because that remark applied in spades to me. Marx furthers is explanation of syncopation with examples from Bolero Rhumba and others.
All and all this is a great book for self study. In spite of the somewhat strange humor, I gave the book 5 stars for good clear development; short easily mastered chapters; and good example adaptions as the book proceeds.
5 of 5 people found the following review helpful.
A music theory book by any other name...
By klavierspiel
This book has been around a long time. "More than 30 years in print!" trumpets the cover of the latest edition. I had never looked inside it, though, until it was called to my attention by a gentleman at an after-concert reception, who said he was teaching himself to play from it and who recommended it highly to me.
What I discovered after reading it is that "How to Play the Piano Despite Years of Lessons" is a good but quite specialized instruction book: it is for a person who knows something about music, and who just wants to play stuff: songs everyone knows, standards, Christmas carols, etc. The authors, Ward Cannel and Fred Marx, spend a lot of time trying to demystify the process of doing this and convincing the reader that it's possible. I give them credit for never saying that it's easy or doesn't require effort: despite the new names (musical "strata," using the letter "i" to mean a half-step) sprinkled throughout the text, and "myths" versus "facts" that open each chapter, most of the concepts are ones that will be familiar to anyone who has studied music theory or taken jazz piano instruction, and there is nothing wrong with that: the material is solid, and anyone who sticks with the program and can get around the keyboard with reasonable ease will end up being able to do what the authors claim: play music.
"Reasonable ease," there's the rub: Cannel and Marx spend a lot of time slamming traditional piano instruction, with its ostensibly boring scales and exercises. Admittedly, years of instruction that centers on painfully learning difficult classical pieces without any understanding of how they are constructed has produced a lot of adults who can't play anything now. But there IS a point to scales and exercises: they build physical fluency at the keyboard, the ability to get to the notes you want to play. The major weakness of this book is that it doesn't acknowledge this essential need. My guess is that a lot of folks over the years have understood the concepts presented in this book, but have nevertheless given up in frustration after they've hit that technical wall.
Bottom line: this is not the musical equivalent of a quick weight-loss diet book: some musical knowledge and willingness to put in the time and effort are necessary. I'm biased, but I also think having a supportive piano instructor would help as well.
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