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Piano Technique
The volume presents two book by Walter Gieseking, foremost pianist of his generation, and his teacher for five years, Karl Leimer, that have long been sought after by students and teachers looking for a radical approach toward developing not only finger-technique but expression-technique. Emphasis throughout is on listening to one's self and proper understanding as the basis of proper technique for the piano.
In book one, originally titled The Shortest Way to Pianistic Perfection, Gieseking and Leimer work with a series of piano works — a study from Lebert and Stark, Bach's Two- and Three-Part Inventions in C, and Beethoven's Sonata in F Minor, Op. 2, No. 1. Before beginning to play, the student is asked to visualize each piece through silent reading. Through Leimer's instruction in this area the student soon discovers how to approach each piece as not merely a series of notes to memorize but as a coherent musical structure to understand. Following are instructions on natural interpretation, with consideration of touch, relaxation, and proper emphasis in the practice. Also given are notes on such topics as etudes, scales, broken chords, the trill, and tranquility.
In book two, Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing, Leimer carries his method of visualization further with a study of the Allemande from Bach's French Suite in E Major. Following are further exercises and practices for developing other pianistic technique with reference to works of other composers. Specific exercises which cover rhythmics, dynamics, and phrasing are designed so that they will benefit not only the pianist but also performers on other instruments. Extensive chapters on variety of touch and the pedal give a great number of techniques and exercises for extending the expressive and dynamic range.
In book one, originally titled The Shortest Way to Pianistic Perfection, Gieseking and Leimer work with a series of piano works — a study from Lebert and Stark, Bach's Two- and Three-Part Inventions in C, and Beethoven's Sonata in F Minor, Op. 2, No. 1. Before beginning to play, the student is asked to visualize each piece through silent reading. Through Leimer's instruction in this area the student soon discovers how to approach each piece as not merely a series of notes to memorize but as a coherent musical structure to understand. Following are instructions on natural interpretation, with consideration of touch, relaxation, and proper emphasis in the practice. Also given are notes on such topics as etudes, scales, broken chords, the trill, and tranquility.
In book two, Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing, Leimer carries his method of visualization further with a study of the Allemande from Bach's French Suite in E Major. Following are further exercises and practices for developing other pianistic technique with reference to works of other composers. Specific exercises which cover rhythmics, dynamics, and phrasing are designed so that they will benefit not only the pianist but also performers on other instruments. Extensive chapters on variety of touch and the pedal give a great number of techniques and exercises for extending the expressive and dynamic range.
140 pages, Paperback
First published June 1, 1972
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Displaying 1 - 15 of 15 reviews
July 7, 2021
I read a non-fiction book - oh my god, I know right, it is genuinely wild. Well, I kind of had to for class but anyway. Look, this book was very insightful, there’s are a lot of good tips for improving piano technique, and a diverse range of strategies given on a broad array of issues that pianists like myself have to deal with.
I just think that the author was a bit vague in regard to describing some movements and the many ways on altering tone. Granted, I would imagine the pianists that wrote are really writers for one, and that two, it often is much easier to demonstrate in real life on how to approach these things whilst simultaneously verbalising than just putting words on a page. So, get I that and I don’t blame the author for it, but from a writing perspective, I do think the wording could have been better. Naturally, this was written ages ago, so some things are slightly dated such as the language used when naming or describing things.
There are a lot of in depth and really good breakdowns for a few select pieces and how to approach them, which while they aren’t particularly useful for me at the moment, it is still interesting to read. I did like the more general comments regarding tone colour and technique, which I found to be quite useful, firstly in building my understanding, but also secondly for me to gain a broader picture of things from a highly accomplished pianist.
One thing that I had an issue with this was that it was quite pretentious. Like, the authors here go out and strongly criticise other pianists and students and call them untalented and the like. I just thought that was unnecessary - I think they could have been a lot humbler in their approach. Like, I’m here to help further my knowledge on piano technique, not for them to go out and attack other pianists, even if they may be doing things incorrectly. I thought that it could have been a lot more polite in that regard.
Anyway, this was insightful, if not a little pretentious, but overall, it is a good novel about piano technique although I wouldn’t recommend it unless you actually do play piano. 6.5/10
I just think that the author was a bit vague in regard to describing some movements and the many ways on altering tone. Granted, I would imagine the pianists that wrote are really writers for one, and that two, it often is much easier to demonstrate in real life on how to approach these things whilst simultaneously verbalising than just putting words on a page. So, get I that and I don’t blame the author for it, but from a writing perspective, I do think the wording could have been better. Naturally, this was written ages ago, so some things are slightly dated such as the language used when naming or describing things.
There are a lot of in depth and really good breakdowns for a few select pieces and how to approach them, which while they aren’t particularly useful for me at the moment, it is still interesting to read. I did like the more general comments regarding tone colour and technique, which I found to be quite useful, firstly in building my understanding, but also secondly for me to gain a broader picture of things from a highly accomplished pianist.
One thing that I had an issue with this was that it was quite pretentious. Like, the authors here go out and strongly criticise other pianists and students and call them untalented and the like. I just thought that was unnecessary - I think they could have been a lot humbler in their approach. Like, I’m here to help further my knowledge on piano technique, not for them to go out and attack other pianists, even if they may be doing things incorrectly. I thought that it could have been a lot more polite in that regard.
Anyway, this was insightful, if not a little pretentious, but overall, it is a good novel about piano technique although I wouldn’t recommend it unless you actually do play piano. 6.5/10
July 4, 2024
This book is for a midlevel pianostudent. Although there were some useful tips, it was too long. It is probably better to watch some youtube video for guidance when it comes to piano technique.
May 25, 2009
A stern volume that contains some excellent advice - namely, that hard work on polishing the nuances of your playing will result in a dramatic improvements in your music-making. I found the memorisation technique suggested by Leimer (where one studies and memorises the score away from the piano) very difficult, but I have managed to put it into effect on simple pieces with very good results.
January 7, 2022
Though the great pianist Walter Gieseking gets top billing on this book (really a combination of two books), he seems to have had very little to do with it. In fact, the books were written by his former teacher, Karl Leimer. Gieseking is mentioned occasionally in the text, but he seems mainly to have been added to increase interest in the books.
I'm not sure who the intended audience for these books is. The material covered is too basic for more advanced students, yet too technical for beginners. We do get an idea of the philosophy that Leimer evidently used in his teaching. He seems to have been very detail-oriented, insisting on mastery of each skill before moving on to the next. The first book features his method for teaching new pieces so that his students can grasp them quickly. If Leimer's methods worked for Gieseking, I am grateful, for he is among my favorite pianists to listen to in recordings. But I am sad to say I can't recommend his books.
I'm not sure who the intended audience for these books is. The material covered is too basic for more advanced students, yet too technical for beginners. We do get an idea of the philosophy that Leimer evidently used in his teaching. He seems to have been very detail-oriented, insisting on mastery of each skill before moving on to the next. The first book features his method for teaching new pieces so that his students can grasp them quickly. If Leimer's methods worked for Gieseking, I am grateful, for he is among my favorite pianists to listen to in recordings. But I am sad to say I can't recommend his books.
September 20, 2025
This consists of two books:
- The first one, "The shortest way to pianistic perfection", lays out the foundation of the authors' approach to piano: analyze and memorize the scores, correctly execute according to the composers' intentions, remove unnecessary body/hand/finger movements, intensely focus the mind when practicing and performing.
- The second one is a series of essays on various topics in piano playing: rhythm, dynamics, touch, phrasing and pedal.
Those are all great advices intended for advanced, semi-pro or professional pianists to practice and perform better in concert halls. For intermediate players who are still struggling with sight reading, music theory and finger exercises, this book is likely too conceptual for them. The emphases on mental work and pedal are enlightening. Those 2 topics are normally skipped in routine piano practice.
At a personal level, this book has drastically changed the way I perceive and carry out piano practice from now on: follow the advices in the book, I need to revisit music theory, focus on fundamental techniques, get rid of bad habits before taking on new pieces.
The shortcoming of this book is that it was written in 1930s, therefore it is very brief, has mostly text without illustration hence some parts are difficult to comprehend (especially the parts on piano touch). The embedded music scores are barely readable. The typesetting and print quality should have been better with today's technologies.
- The first one, "The shortest way to pianistic perfection", lays out the foundation of the authors' approach to piano: analyze and memorize the scores, correctly execute according to the composers' intentions, remove unnecessary body/hand/finger movements, intensely focus the mind when practicing and performing.
- The second one is a series of essays on various topics in piano playing: rhythm, dynamics, touch, phrasing and pedal.
Those are all great advices intended for advanced, semi-pro or professional pianists to practice and perform better in concert halls. For intermediate players who are still struggling with sight reading, music theory and finger exercises, this book is likely too conceptual for them. The emphases on mental work and pedal are enlightening. Those 2 topics are normally skipped in routine piano practice.
At a personal level, this book has drastically changed the way I perceive and carry out piano practice from now on: follow the advices in the book, I need to revisit music theory, focus on fundamental techniques, get rid of bad habits before taking on new pieces.
The shortcoming of this book is that it was written in 1930s, therefore it is very brief, has mostly text without illustration hence some parts are difficult to comprehend (especially the parts on piano touch). The embedded music scores are barely readable. The typesetting and print quality should have been better with today's technologies.
June 1, 2022
'I still am grateful to Mr Leimer that he has trained me to pay unconditional respect to the intentions of the composer. Only the most careful following of all his markings makes it possible to live in the thought and emotional world of a master and thereby to realise a perfect rendition of his works.'
Karl Leimer was a German piano teacher in the 20th century, where he taught at the Hanover Conservatory. Walter Gieseking, the eminent pianist, would study with him during the 1910s. As another reviewer noted, Leimer is the writer here, with Gieseking only making cameo appearances - he writes the Foreword, and is used as an example by Leimer. This book actually consists of two books: 'The Shortest Way to Pianistic Perfection' and 'Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing'.
In the Foreword, Gieseking explains that the most important part of piano playing is critical self-hearing. He credits Leimer for this faculty. Only through trained ears can a person notice unevenness or the degrees of tonal difference. In addition, Leimer taught his students to obey the wishes of the composer. This is the same pedagogy of the Russian schools, as mentioned in Josef Lhevvine's 'Basic Principles in Pianoforte Playing'. It also resembles the 'artistic image' mentioned in Heinrich Neuhaus's 'The Art of Piano Playing'.
In the first chapter, Leimer reinforces that his piano method rests on the ability to train the ear. He writes, 'the capability of listening with a critical ear to one's own playing... is a prerequisite of rapid progress.' Additionally, if one wants to memorise, they should also systematically analyse the piece. His method and Gieseking's for memorising relies not on playing the piece over and over, but instead analysing the score away from the piano and memorisng it there. He writes:
'[Gieseking], however, does not impress these upon his memory (which is looked upon by all musicians as phenomenal) by playing them over on the piano, but by visualizing them through silent reading.'
I disagree with this approach. Roger Chaffin's book 'Practicing Piano Perfection' and even Paul Cienniwa's 'By Heart' give alternative approaches to the task of memorising. Leimer stresses the importance of memorising, encouraging teachers to insist that their students play from memory at least one or two measures in each lesson.
Other things that I have learned useful in my own piano practice are:
Relaxation is key to piano playing. To enter that state, lift up your arms, and then drop them down dead. That is the state of relaxation you should aim for.
Visualisation for Leimer is carefully thinking through a piece. Analyse it, and intensely concentrate on viewing it conceptually, and it can be yours by memory. He gives an example of doing this with Bach's Invention in C Major.
No pupil of his has ever been self-trained in hearing themselves correctly.
Practice only small parts, not longer sections, to fix playing.
To make quick progress, it is essential to avoid mistakes. To do this, he advocates very slow playing until one can play a part perfectly.
30 minutes, five or six times a day is enough study.
Memorise a measure at a time. Do not not move on to the next measure until the preceding one is done.
In the second half of the book, he uses his visualisation technique with Allemande of the French Suite in E Major by Bach.
The character of a piece often depends on strict rhythm.
Encourages the use of a metronome.
Gieseking still counts.
Without dynamics, much of music would be lifeless.
The melody should be louder than the accompaniment.
Don't make unnecessary movements at the piano.
This was the first classic book on piano technique that I read. Useful for those who have some maturity at the instrument.
Karl Leimer was a German piano teacher in the 20th century, where he taught at the Hanover Conservatory. Walter Gieseking, the eminent pianist, would study with him during the 1910s. As another reviewer noted, Leimer is the writer here, with Gieseking only making cameo appearances - he writes the Foreword, and is used as an example by Leimer. This book actually consists of two books: 'The Shortest Way to Pianistic Perfection' and 'Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing'.
In the Foreword, Gieseking explains that the most important part of piano playing is critical self-hearing. He credits Leimer for this faculty. Only through trained ears can a person notice unevenness or the degrees of tonal difference. In addition, Leimer taught his students to obey the wishes of the composer. This is the same pedagogy of the Russian schools, as mentioned in Josef Lhevvine's 'Basic Principles in Pianoforte Playing'. It also resembles the 'artistic image' mentioned in Heinrich Neuhaus's 'The Art of Piano Playing'.
In the first chapter, Leimer reinforces that his piano method rests on the ability to train the ear. He writes, 'the capability of listening with a critical ear to one's own playing... is a prerequisite of rapid progress.' Additionally, if one wants to memorise, they should also systematically analyse the piece. His method and Gieseking's for memorising relies not on playing the piece over and over, but instead analysing the score away from the piano and memorisng it there. He writes:
'[Gieseking], however, does not impress these upon his memory (which is looked upon by all musicians as phenomenal) by playing them over on the piano, but by visualizing them through silent reading.'
I disagree with this approach. Roger Chaffin's book 'Practicing Piano Perfection' and even Paul Cienniwa's 'By Heart' give alternative approaches to the task of memorising. Leimer stresses the importance of memorising, encouraging teachers to insist that their students play from memory at least one or two measures in each lesson.
Other things that I have learned useful in my own piano practice are:
Relaxation is key to piano playing. To enter that state, lift up your arms, and then drop them down dead. That is the state of relaxation you should aim for.
Visualisation for Leimer is carefully thinking through a piece. Analyse it, and intensely concentrate on viewing it conceptually, and it can be yours by memory. He gives an example of doing this with Bach's Invention in C Major.
No pupil of his has ever been self-trained in hearing themselves correctly.
Practice only small parts, not longer sections, to fix playing.
To make quick progress, it is essential to avoid mistakes. To do this, he advocates very slow playing until one can play a part perfectly.
30 minutes, five or six times a day is enough study.
Memorise a measure at a time. Do not not move on to the next measure until the preceding one is done.
In the second half of the book, he uses his visualisation technique with Allemande of the French Suite in E Major by Bach.
The character of a piece often depends on strict rhythm.
Encourages the use of a metronome.
Gieseking still counts.
Without dynamics, much of music would be lifeless.
The melody should be louder than the accompaniment.
Don't make unnecessary movements at the piano.
This was the first classic book on piano technique that I read. Useful for those who have some maturity at the instrument.
February 27, 2026
The memorization technique in this book is very good, and the other piano technique otherwise is useful, as well.
However, a book format is an inefficient and informative way to teach it; it's difficult to understand what he means without seeing it unless you're already familiar with them.
For instance, when he advises to roll the lower arm (instead of thumb under) to play scales, I think he is correct, however, someone unfamiliar with that probably wouldn't know precisely what he means.
What is really needed are videos of pianists playing these techniques. I understand this wasn't available when the book was written, but it makes the book a bit vestigial.
However, a book format is an inefficient and informative way to teach it; it's difficult to understand what he means without seeing it unless you're already familiar with them.
For instance, when he advises to roll the lower arm (instead of thumb under) to play scales, I think he is correct, however, someone unfamiliar with that probably wouldn't know precisely what he means.
What is really needed are videos of pianists playing these techniques. I understand this wasn't available when the book was written, but it makes the book a bit vestigial.
June 21, 2017
"... with the exception of pieces to be publicly performed, specially instructive exercises, and Bach compositions, I do not consider it necessary for the pupil to commit to memory every piece he studies." (Page 11)
"... it is of the utmost importance to learn to ... exert [the muscles] consciously, and, what is of still greater importance, to relax them consciously." (Page 12)
Having read through page 98, I am going back to the beginning to work on my "technique" rather than rushing through to read to the end of the book.
"... it is of the utmost importance to learn to ... exert [the muscles] consciously, and, what is of still greater importance, to relax them consciously." (Page 12)
Having read through page 98, I am going back to the beginning to work on my "technique" rather than rushing through to read to the end of the book.
January 10, 2021
There's some solid technique advice in here if you can wade through the presumptuous and rather dated language. ("Dynamical"? Really?)
September 15, 2025
Very informative but dreary at times. Written in the 1930s, many things have changed but the fundaments remain the same.
May 21, 2014
This book includes two separate treatises written by Geiseking and his teacher Leimer. The first book had some interesting theories about note-learning. I really liked the idea of many half-hour practice sessions with breaks in between rather than a full-blown 3 hour one.
I'm not sure many of his ideas were sold to me and I feel like the blame should lie with the 'theoretical' book format. If Gieseking had access to the internet, I'm sure these pages would have made great videos on YouTube, especially where we can see some of the theories put into practice.
As it is, I found it very hard to apply the ideas firstly without a practical example and secondly without further guidance from a teacher. Overall, an interesting read but don't expect to progress much unless you can manage to exercise strict self-control and follow their instructions perfectly.
I'm not sure many of his ideas were sold to me and I feel like the blame should lie with the 'theoretical' book format. If Gieseking had access to the internet, I'm sure these pages would have made great videos on YouTube, especially where we can see some of the theories put into practice.
As it is, I found it very hard to apply the ideas firstly without a practical example and secondly without further guidance from a teacher. Overall, an interesting read but don't expect to progress much unless you can manage to exercise strict self-control and follow their instructions perfectly.
May 23, 2012
One main point I got from this book is how important it is for pianists to train their ears to hear not only the tone pitch, but also the exact tone quality, tone duration, and tone strength. And all this takes continual control and the utmost concentration. I shouldn't mindlessly play the piano anymore :)
December 4, 2012
Zeer erm... technisch boek over erm... piano. De nadruk ligt op leren luisteren/horen, de ontwikkeling van een gevoel voor ritmiek en toucher. Zeer interessant voor zowel de beginner als de gevorderde --ik vermoed dat ik er later nog naar ga teruggrijpen.
March 16, 2019
Language can be a little dated, but the book still offers practical insights to playing and teaching the piano. Favourite moment, his nickname of the fourth finger - “the sorrow child” of the hand.
July 26, 2012
good practice techniques for beginner students but which every int/adv player should already kno
Displaying 1 - 15 of 15 reviews