Rating: 
Summary: Amazing, albeit possibly deceptive
Review: I am getting a master's degree in piano performance right now and this book was one of the first of many that I read when I started to analyze my own technique after realizing that I was doing nearly everything in a stiff, inefficient manner. Since working with a teacher that was able to turn my technique around, I've gone back to this book several times and each time I find something new. Especially important was the realization that the "fundemental" or "basic" rhythm of which Abby Whiteside speaks really is the ONLY way to achieving an effortless technique, and that gestures with the torso and the arms, once perfected, give one the feeling that all of the small muscular contractions needed for finger and hand articulation are virtually involuntary reflexes. It is not so simple, however, since fingertips give us the tactile sensation which we base these very arm/torso gestures on (when I point to something, the finger points and the arm follows, I don't "point with my arm"). Thus, a reader who doesn't know about the interosseous muscles of the hand (which provide support the same way as the arch of the foot provides support) might find himself flopping about the keyboard trying to do everything with the larger muscles instead of working to integrate all of the muscles. This book should be read in conjunction with other books and should be re-read as one's technique improves. All of the "classic" books on technique really describe the same sensation, the only difference being which particular points are most important in the experience of the author. Still, though, the book is incredible and every pianist who lusts after speed AND ease should read it...I also recommend "The Pianists Talent" by Harold Taylor, which provides insight into posture and "touch," which are two things that this book does not really address.
Rating: 
Summary: few more comments
Review: I believe some of the things she said are too extreme. How can a piano teacher ever say that slow practic is no use?! Gee! Without slow practice, one cannot even find the keys right. Even world-renowned pianists practice slowly to start with. The only difference is that more talented players manage to spend considerably less time playing slow before they play fast. But they would never skip it. THe book only contains anaysis of 4 etudes, instead of 24. And they are not the etudes one would attempt to play when first playing the etudes. THey are the more difficult ones. So consider twice before you buy it. THe 4 etudes are No. 7 in the first set (muscially this is not ond of the most thrilling ones), No. 10 to 12 in the second set. No. 10 is the octaves etude. Technically it is one of the most difficult, but musically I abhor this etude and can never bear to hear this piece from the beginning to the end. No. 11 is the winter wind one, one of the most exciting etudes ann technically probably the most difficult one to play in the entire set. No. 12 is the occean etude, with arpeggios in rapid successions with both hands. I don't think her analysis is very brilliant on this one. Still the old problem: inability to write clearly.
Rating:
Summary: few more comments
Review: I believe some of the things she said are too extreme. How can a piano teacher ever say that slow practic is no use?! Gee! Without slow practice, one cannot even find the keys right. Even world-renowned pianists practice slowly to start with. The only difference is that more talented players manage to spend considerably less time playing slow before they play fast. But they would never skip it. THe book only contains anaysis of 4 etudes, instead of 24. And they are not the etudes one would attempt to play when first playing the etudes. THey are the more difficult ones. So consider twice before you buy it. THe 4 etudes are No. 7 in the first set (muscially this is not ond of the most thrilling ones), No. 10 to 12 in the second set. No. 10 is the octaves etude. Technically it is one of the most difficult, but musically I abhor this etude and can never bear to hear this piece from the beginning to the end. No. 11 is the winter wind one, one of the most exciting etudes ann technically probably the most difficult one to play in the entire set. No. 12 is the occean etude, I don't think her analysis is very brilliant on this one.
Rating:
Summary: The editors should attend an English writing class.
Review: I bought the book because its ideas struck me as interesting. And I had problems with playing piano that are identified exactly as such in her book. One one hand, I know what she is talking about. But she needs to qualify more than just saying "everything originates from your torso and your up-arm (one gets irritated after reading this 5 times on one page). I guess one can realy start to play like that just by reading this. She seems to be writing the same thing OVER, OVER, OVER again and does not tell you how one could achieve that from a technical point of view (where it should be discussed more, she withdraws). What players need is not just judgments (although it is also essential), but more importantly how one could achieve it. One could condense this 300 page book to 30 pages, at the same time having everything said. Her written prose makes you think that she did not even complete primary school. She shouldn't be faulted for that since she has her own expertise and it is not writing. But the editors should really feel ashamed. How could they allow this terrible writing in terms of mechanics and style be even published! I'm trying to read it because I still hope her ideas may help me. But with such an unclear presentation I'm unsure whether I'll ever get hold of it.
Rating:
Summary: The editors should attend an English writing class.
Review: I bought the book because its ideas struck me as interesting. And I had problems with playing piano that are identified exactly as such in her book. One one hand, I know what she is talking about. But she needs to qualify more than just saying "everything originates from your torso and your up-arm (one gets irritated after reading this 5 times on one page). I guess one can realy start to play like that just by reading this. She seems to be writing the same thing OVER, OVER, OVER again and does not tell you how one could achieve that from a technical point of view (where it should be discussed more, she withdraws). What players need is not just judgments (although it is also essential), but more importantly how one could achieve it. One could condense this 300 page book to 30 pages, at the same time having everything said. Her written prose makes you think that she did not even complete primary school. She shouldn't be faulted for that since she has her own expertise and it is not writing. But the editors should really feel ashamed. How could they allow this terrible writing in terms of mechanics and style be even published! I'm trying to read it because I still hope her ideas may help me. But with such an unclear presentation I'm unsure whether I'll ever get hold of it.
Rating: 
Summary: Her ideas will ruin you as a player
Review: I find it disturbing that Abby Whiteside takes such an extremist view of the piano, yet she produced no students of importance. That alone is reason for her ideas to not be adopted. I admit there are some good ideas contained in the book, but all of them can be found in other books by authors who can actually write a coherent sentence (something Whiteside does infrequently). I can't comprehend why Whiteside is willing to dimiss centuries of pedagogical practice that has been proven time and time again. Not that there isn't room for new ideas, but saying everything is wrong but your (Whiteside's) view is extreme. My experience is that a teacher who is so willing to dismiss any ideas aside from their own, is not a good teacher. Take a look at any of the pedagogical books published by Dover or the book by Sandor. All of these have great advice and none take an extreme stance on the topics they discuss.
Rating:
Summary: Amazing, albeit possibly deceptive
Review: I would like to urge all pianists with a serious interest in piano technique to read this book CAREFULLY and SLOWLY. It is not "light reading" but it will, with patience, reveal amazing things about playing the piano. Try following Ms. Whiteside's recipes as literally as possible and you will find that they work. I agree with some of the other reviews that her style is less felicitous than it might be, but give the lady a break! She is attempting to describe in words some very complex physical sensations. I first read this book in the summer of 1998 and have returned to it again and again for the details and the inspiration it consistantly provides.
Rating:
Summary: This book changed my life
Review: I would like to urge all pianists with a serious interest in piano technique to read this book CAREFULLY and SLOWLY. It is not "light reading" but it will, with patience, reveal amazing things about playing the piano. Try following Ms. Whiteside's recipes as literally as possible and you will find that they work. I agree with some of the other reviews that her style is less felicitous than it might be, but give the lady a break! She is attempting to describe in words some very complex physical sensations. I first read this book in the summer of 1998 and have returned to it again and again for the details and the inspiration it consistantly provides.
Rating:
Summary: Unique, genius, Abby Whiteside
Review: I'm a concert pianist. I've played all over the world. I had already won several important competitions when I came in contact with Indispensibles. It revolutionized my approach to practice, learning, teaching and the effects were evident in my playing immediately. (A month after reading it and applying it, I went to London and won my most important competition. I'd never had such confidence that my music making was right and natural).
As other reviewers have mentioned, she's verbose (too excited about her subject) and her ideas are radical. Like all evangelists for a new cause, she had to overstate her case in many respects. (There certainly is a place for slow practice, deciding fingering is not always evil, etc.)But, her most important, basic contribution (ongoing rhythm, how that is felt in the body first, smaller levels become extensions of the rhythmic impulse, and how this can be tied in to practice and learning music)is truly genius. The movement of the music through time is the basis. Always practice that movement and internalize it. What good is playing all the notes of that vision and movement is killed in the process of learning? Whiteside helps you keep your eye on the goal and strengthen your concept of that goal in each practice session.
(One word of caution; students I've heard who only use doctrinaire Whiteside approach generally have wonderful sweep in their playing, but often lack definition technically. With that in mind, don't bar yourself from the huge benefits of Whiteside's thinking!)
Rating: 
Summary: Excellent content, TERRIBLE write-up; 2nd book better.
Review: The first book by Abbey uses unreadable English and convoluted sentences. Tho contents excellent, poor English makes learning unproductive. Example: Q: Can Weight-an inert pressure-help develop facility? A:It is exactly the inert pressure of weight which cannot be used for speed. Words are important in teaching. Words of action are needed to suggest the coordination for speed. Weight does not suggest the muscular activity which moves the weight of the arm. It does suggest an inert pressure. I don't think I completely agree with this; but with such biblical phraseology, how do I know exactly what she is saying? This example is average; some parts are even worse; she is also verbose. Second book covers similar material and is written in plain English, so you might read this first, but is not as complete and organized. It is a real pity that such good advice is jumbled and not communicated to us all. One of top 5 books on content for piano practice.
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