Robert Durso introduces the Taubman Approach.
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- เผยแพร่เมื่อ 5 มิ.ย. 2024
- Robert Durso, master Taubman teacher and co-founder of the Golandsky Institute introduces the Taubman Approach.
Accompanying slides are available at: docs.google.com/presentation/...
I have a friend who left Fleisher to study with Ms. Taubman. Thanks for this basic introduction.
I am a former student of the Taubman technique. Every Young artist should definitely pay attention to this video. It has revolutionized my ability to play the piano. In fact it even improved my typing doubling my speed! Even on terrible keyboards. And I never have pain in my arms or fingers. And my hand size is on the small side! But that makes no difference because you move your arm as you need to.
Thank you for sharing the principles of a proven natural and effortless approach for learning how to play the instrument we all love without strain, pain or injury and with freedom, fluidity and the fellowship of mind, body and soul. I will begin using this immediately 🎹❤️🎹
Great! Thank you so much, Sir Robert! I really appreciate it very much! 😊🤗❤️🤗😊
Robert Durso is an amazing teacher and communicator. This is a great overview of the Taubmann technique which is truly the best piano technique in the world today for most learners. Aside from rare child prodigies and the one in a billion geniuses... I've found that most pianists left to their own devices or indeed who have standard piano lessons end up without reaching the level of playing they desire and even succumb to injuries. I hope more people discover this technique and it becomes more accessible for everyone, everywhere.
Forever addicted to this man 😃
Absolutely brilliant. The fundamental movements of this technique match exactly the healthy movements of my Touch & Tone Technique for Harp. I deeply appreciate, honor and love what this approach offers as a pathway to great music making.
Very good, thankyou for this helpful information.
It' s all about use the whole key area.
Unfortunately very few teachers know how to teach the right techniques for healthy effortless playing. It wouldn't be an exaggeration if I would say that many teachers teach the exact opposite way of the approach you demonstrated namely the wrong way that leads to injuries.
What do you say is so true. I don’t know how many people are turned off to the piano because it is so uncomfortable for them. As a former Taubman student I count myself very lucky that I never had one of those teachers
Very helpful presentation!
Brilliant
Watching these videos with interest. The specific in and out movements are well demonstrated for the c major scale in several videos. Presumably there are similarly precise adjustments for each key? Could any videos be done to explore how this works when venturing into the black keys? For example, what are the in, out motions in say, G major, or D major etc? Would there be multiple problems here in terms of avoiding contracting the hand in the white keys, but also avoiding flexing the hand by reaching into the black keys? Demonstrating the specifics of another key would be useful I think.
Actually, in terms of in and out motions, a c major scale is one of the most complex BECAUSE its all on white keys. So I think this is a good example. Take for example a b major scale, there wouldn't be as much in and out because the short fingers (1,5) play white keys, and long fingers (2,3,4) play on black keys.
@@theo5069 oh sure! I didn't mean to imply that C major isn't very useful. As you say, I guess it's the most complicated one. I seem to remember reading that Chopin taught his students starting with one of the black key scales for the reasons you gave. But I guess each key presents its own challenges.
@@neilward5825 yeah for sure!
Chopin had his students perfect the b scale first.
It will be also usefull if you can actually play a whole piece like the invension or so.
No...not Bach, play a piece that actually taxes the hand (more so than the brain). These Taubman people are always 'demonstrating' by using pieces whose practice never leads to hand problems. On rare occasion when they do play something challenging to the hand, they have to play it slowly to allow for the intrusion of all the extra movement the method introduces, while inferring that the slow speed is specifically adopted to make it easier for 'you' to 'observe', not for them to play, or, they play it so badly that one is caused to doubt if they can, or ever once actually 'could' play, at a high level, thereby disproving the prescriptive value of the method into the bargain. Where did Taubman get the idea the no one before her had realized the valued in sharing the work of the finger with the wrist and forearm? Garrick Olhsson is the only one who reliably proves a 'viable' discourse and 'practical' assimilation on 'hybrid' play. Grahan Fitch seems to teach similarly without mention of Taubman.
@@philosophicallyspeaking6463 - some very good points. It's one thing to identify some technically incorrect practices and suggest that the way to remedy them is to not do them, and the Taubman approach may have some usefulness at the onset to avoid some bad habits. But eventually all those pedagogical manuvers must give way to the necessary technics for playing more advanced pieces. In particular, Leschetizky seems to have a better integration of the forearm/wrist/finger movement.
how do we rotate from a white key to a black key? for example a single rotation from right hand 5th finger on C to G 2nd finger, then double rotation to F sharp?
4:35
Can't help wondering if applying an in/out motion while playing a C major scale isn't overkill.
This is not very useful if you can't demonstrate how it 'actually' translates into a practical 'rotational' playing style, rather than as a means for starting beginners or rehabilitating injured advanced players. How do you incorporate this method into your approach to the keyboard if many of the pieces you play require very wide reaches that need to be navigated at speed in concert level romantic works? Bach is easy, comfortable, and ergonomic. Play something simple that everyone can play like Chopin's Fantasy Impromptu, which while sitting well for the hand, its speed requires that the hand be chronically 'open'. Thanks!
Its called a search, bro. lol
@@THEcucufate I'm sorry, I don't understand. Is your implication that the evidence is everywhere you care to look (search online), but that you shouldn't expect to see actual evidence of it, because the 'method' becomes...'invisible' at speed, an idea that 'advises' the hand, and that in deploy by sufficiently 'nuanced', trained, and skilled hands, they only appear to operate outside of the method. That sounds like a case of the Emperor's New Clothes.
@@philosophicallyspeaking6463 wow
@@philosophicallyspeaking6463 - the primary concern around remedying poor, injurious technic centers around elimination of tension. Specifically related to piano technic, tension is the simultaneous contraction of opposing pairs of muscles. Earlier keyboard technic (i.e. harpsichords) incorporated a lot of lifting of the fingers. This was survivable on the harpsichord due to its very light action. However, on the heavier action of the modern piano this is deadly. Lifting the fingers uses the muscles in the top of the forearm -- i.e. the extensors. The extensors are engaged to lift the fingers, whereas the flexors (underside of the forearm) are engaged to play (pull down) the fingers. Lifting a finger via the extensors creates a situation where, for a brief moment the extensors are still engaged to lift the finger while at the same time the flexors become engaged to play (pull down) the finger. In each of these moments, the opposing pairs of muscles are "fighting" each other, which creates tension, stress on tendons and joints, and may result in pain and injury if continued over time. This error is frequently exacerbated by those who teach, for example, Hanon, which has in its instructions to lift the fingers high. This is devastating to a good relaxed pianistic technic.
Leschetzky solved for this by eliminating the "lifting" part. Rather, he simply plays (flexors engage, pulls down) and releases (flexors disengage) -- called the "close touch" because the fingers do not necessarily leave the keys (advanced chordal passages notwithstanding). Learning to play with a "close touch" (using flexors only) minimizes the lifting of the fingers, thereby minimizing tension and risk of injury.
Taubman's approach also eliminates use of the extensors by engaging the entire arm and flexors only, which can be useful and effective for healing and restoration of injuries caused by excessive tension. But it only goes so far, and somewhat immobilizes the wrist. Understanding, of course, that all beginning technical approaches must evolve.
I know the answer to what causes fatigue.
Hahaha !
@@piano9051 I do.
I would love to actually hear you PLAYING something, a Chopin's Etude. All your theories are pointless without a real demonstration that your system actually works! It's the same for all those Taubman evangelists, just tons of blabla and zero playing ....
Forgets his posture during this entire video... setting a bad example for future pianists.