“These two books are a welcome addition to the jazz educational library, they pick up where the Slonimsky book leaves off!!! Hundreds and hundreds of interesting and very challenging exercises covering a multitude of harmonic and intervallic non tonal and pan tonal  structures. An excellent source of many chromatic ideas and literally thousands of convoluted, new, and fresh sounds for the jazz pianist to sight read and experiment with. These are truly cool patterns and advanced studies in tonal and non tonal areas. You will not be disappointed. Highly recommended.” 

Richie Beirach


"Every era’s pianists have written Studies and Etudes to support their technical discoveries. Tonino Miano’s exercises are to Debussy and Ligeti what the Hanon exercises are to Beethoven and Mendelssohn. Playing the whole-tone exercises is a true immersion into the world of the French Impressionists! These books should be a part of every pianist’s library. They will help form the technical and aural basis for the piano repertoire of the 20th century – Debussy, Schoenberg, Bartok, Prokofiev, Ligeti, Messiaen, Carter... The technical challenges of Volume II are formidable, but they open the mind and the ear to multiple possibilities. Volume I is more traditional in form (parallel hands, opposing hands, etc) but the interval combinations make it constantly challenging and surprising.”

Frederic Chiu


“A mighty work. An absolutely excellent second volume, with truly remarkable and outstanding references to diversified rhythms, repeated notes, different types of attacks, dodecaphonic studies etc. Everything is exceptionally well organized. Personally I would have preferred a leaner first volume, but overall an accurate and exhaustive work by a musician of broad vision."

Massimiliano Damerini



 

“These exercises are a fascinating, imaginative take on familiar examples from the past. They stretch hand and ear into new shapes and sounds - brain-teasers, finger-twisters, crazy and creative.”

Stephen Hough

 


"As soon as I learned of this publication, I asked a common friend, the guitarist Marco Cappelli, to get me a copy. I had high expectations and, I must say, they were not disappointed. Leafing through the two volumes you are amazed and dazed by the enormous work done by Miano and the amount of exercises available, a truly precious guide to delve deeper into the modern piano world. And I can only agree with colleagues who mention Slonimsky's Thesaurus. I am convinced that an intelligent combination of this historical publication and Miano's studies can guarantee important results also for the improvising pianist as well as for the interpreter." 

Ciro Longobardi


“Tonino Miano’s Non-Tonal Technical Studies for piano makes the strong case for all pianists (beginner and accomplished alike) to develop the technique required to play non-traditional' music. Though the instrument itself has not changed dramatically for over a century, the music written for it indeed has! For those with even a passing interest in studying and performing twentieth century work, this book is an invaluable aid to comprehending the inner workings of music that lives outside of major and minor scales. As a composer, I am very appreciative of a text that embraces 21st century techniques in a methodical way that develops a musician’s ear and facility as an important step toward true mastery.”

David Ludwig


"A truly excellent laboratory that sharpens the tools needed to master idioms not previously contemplated by other methods".

Antonio Pompa-Baldi




 


Non-tonal technical studies for piano is first of all impressive for its comprehension. If a pianist went through these books their fingers, ears and conceptual framework would be introduced to most strategies and difficulties that they would encounter in modern music. Thus it functions for technique like a modern day Czerny and functions for concept like a 21st century Mikrokosmos or a Slonimsky’s thesaurus. Plus it equally functions both to develop the concept of a classical pianist playing modern music or as a vocabulary for a modern improvising pianist.”

Matthew Shipp