It is amazing what a sport Ben is here. He's obviously a very accomplished pianist and teacher in his own right, but he's playing the pupil so that we can learn about the Taubman method. How generous he is doing so. Thanks to both of you.
Dear colleagues, my deepest admiration for the brilliance of your playing and the means you express that results in brilliance and speed. But as your admirers, the very opening does nothing to answer the question because neither of you considered what I believe is requisite number one for studying music, and that is what is it's feeling and are we following the compoer's requirements. You see the final movement is marked piano. Your approaches can never arrive at piano unless you discuss major changes in the muscular condition of the arms and body plus other choreographic adjustments. Remember, there are no muscles in the fingers of our hands. There are only tendons and ligaments. Seymour Bernstein.
When my teacher was injured, he discovered the Taubman approach, and I was lucky enough to learn it 23 years ago. When I was injured practicing cello with a terrible prognosis, I fell back on Taubman techniques - rotation, arm weight, minimizing finger power unless necessary. Not only did they help bring me back to cello years later, but I can play this mov’t again, some Liszt and Brahms. I cannot thank Dorothy Taubman enough.
Ben, it is truly an excellent lesson and a line of improvement and knowledge of the piano by mr. Robert Durso, he knows very well how the piano works and the topography of the keyboard and the natural movements of the hand, fingers and body including de pedal that must be acquired. I am a concert pianist trained in Hungary (Franz Liszt Superior School of Music) with the so-called Russian technique, believe me, your worst enemy is yourself, you have super-accelerated thinking that does not give the brain or the body time to "learn" the gestures and your self-audition to improve your technique, I warmly recommend this pianist and pedagogue who is undoubtedly a great professional. I hope you do not misunderstand my words, there is no kind of being aggressive with you or disrespectful. Thanks for reading me.
Damn, I've been on forums that make fun of the Taubman videos on TH-cam, but this really seems like logical and helpful advice. The problem is that not every Taubman teacher is Robert Durso. I'd love to take lessons with someone who could improve my hand coordination using this very logical, integrated system.
First off, I very much agree that this video is more elucidating than what I've seen from Taubman so far. I've been teaching myself Taubman for 3 months now, with just their YT videos and Therese Milanovic's master thesis on it, and it's been both a HUGE struggle and at the same time improved my technique hunderfold. I was literally hard-stuck before I discovered it. My review of Taubman after 3 months would be that the people criticizing it really just don't get it, but at the same time I understand very well why they don't get it - piano playing's just that complex and this video actually does a better job than most of what I've been using 😅
Agreed! This is why we made a whole course on the principles of the Taubman Approach with Bob (Durso) on the tonebase platform, to help clarify the way movements integrate into a unified playing mechanism.
I am a 45y old piano 'apprentice' , now in my fifth year playing and studying in our local music academy. For the first 2 year I suffered from extreme flying pinkie syndrome :p My teacher , who I really love as a teacher, always told me that I had to relax while playing. Well, thats easier said than done... just.. relax..... Later I discovered The taubman dvd series on the internet and for me it was a life changer!! After 3 weeks my pinkies staid down. It just was because of my fingers wernt properly alligned when stroking the key , and it caused lots of tension. I am still in the beginning of my playing journey but whenever I have difficulties with, stretchy parts , or leaps , or long passages,etc.. , i trie to applie what I learned. So I stopped holding on to notes , even if the score sais legato, to avoid tension. My long note passages are really getting better because of better grouping, my scales have improved lots by applying rotation and in and out, and so on.... what taubmann is 'preaching' is as logical as math. its all about fysics and trying to produce the best, with the least ammount of movement and effort. I am so glad I 'discoverded' this and I would recommend al beginner pianists to have a look at it! 😁
@@douwemusic I don't think this video makes much sense without understanding the Taubman fundamentals first. I watched this before fully understanding the technique and thus didn't fully understand everything in this video. I think the real problem with learning the Taubman technique is that there's almost no organized step by step lesson of every aspect of the fundamental principles that one could find for free. BUT I finally was able to find this video: th-cam.com/video/ci0_pDMgtsk/w-d-xo.html which is Robert in a zoom stream and he actually goes through all the principles step by step, with both a side camera and an overhead camera. After digesting everything in that video, coming back to this video I now understand it fully
I am searching for Taubman videos and this is the first good one I've seen. But, question is, this just seems like common sense really. How can everyone else be doing something else? I mean why would they torture themselves? Also, is Cortot similar to this? I found some fingering of his and that's what started a lightbulb. It was a chromatic descending using 4-5-4-5 that required what I know see was perhaps an in-out-in-out, and though it seemed crazy, it felt great. Or am I way off track here?
It’s 10 years I’ve been using the Taubman approach after 30 years of finger lifting, stretching and complete absence of direction. I must say it’s a pity this technique doesn’t get the attention it deserves. After even 10 years, I still have to remind myself that there is a whole arm there to aid in my playing! If only this technique had been taught to me right from the beginning!
I am not a pianist, only an enthusiastic piano player. Thank you for sharing. Learned a lot. Eye opening. Only small changes in holding your hand can bring miracles.
Congratulations Mr Durso! I am a concert pianist, well, (I went because I was already retired) and this video posted by you seemed excellent to me, you know very well how the technique works, sorry, the techniques, which requires a good knowledge of the keyboard, of the body , fingers, wrist, arms etc, etc... and good practice for studying. I was based in the Franz Liszt Conservatory of Music in Budapest (Hungary) and I was lucky enough to work with my piano teachers who followed the so-called "Russian" technique, which is very much in line with what you recommend. Thank you very much for reading and congratulations once again.
This lesson blew my mind as I discovered it after starting to learn this about a week ago, and struggling to do the opening without a ton of tension and fatigue. Thank you for this
@@kovacsdaniel7356 I never followed up with it beyond this piece, but I think it's time to take more lessons, I havent had any in a few years and as I age, this type of approach seems more and more valuable
Find this randomly I've ended music school and i wanna say: it's looks the same as teacher in music school teached me. Never seen so good teaching video on YT, it's really very valuable.
I made such a huge improvement in only 1 hour watching this video and trying to do what is explained, it’s awesome! Especially for me, who is selftaught and only plays like 1 1/2 years, this is so valuable! thank you so much! 😊
Thank you for letting this be an in-depth conversation and view into more advanced applications of the taubman work. I often get sick of the cursory or surface-level treatment TH-cam videos give. This video reveals the truth and meat of it. I am not surprised Bernstein disagrees with the approach. Ha!
Throwing the thumb in during practice is what helps me to keep a faster transition in between. Having said that I’m still only about 70% speed but this is super valuable info! Thank you both.
I studied Exercise Science at university (Rehabilitation and Movement) and within the field it is so common to look at the biomechanics of sports movement, daily living, and even dance which is incredibly artistic as well as being athletic. But i have been quite surprised to learn that musicians and musicianship are almost completely separated from this field of study. Music playing is as much a sport as it is an artistic expression, like dance or even figure skating. I grew up playing the flute and some piano, and have returned to these beautiful activities later in life. As my mind has been formed to look at movement often in relationship to biomechanics, injury prevention, and efficient movement, i've been frustrated to see that the standard principles of form and technique are usually a one-size-fits-all approach. This should not be the case, even when following the natural laws of body movement regarding piano playing, for example. This video is a wonderful demonstration of how you can maintain those universal laws of movement while still considering the particular build of the student. It also shows the direct relationship of good biomechanics (technique appropriate for the human body) to a beautiful, injury free performance. Well done and thank you for these videos!
piano is a sport fr lol, i remember seeing a comment about tristesse not being so hard to play the main requirement being athleticism for the hardest passage and i did a double take lol but its entirely true, hand athleticism
Haha, 11 days ago I responded to a video of yours recommending a commenter to check out the Taubman approach because it has helped me tremendously in a very short time. Coincidence? Anyhow, I'm very glad it's finally getting some love and attention because it's misunderstood (and underrepresented) everywhere! And the way you approach piano technique and Taubman in this video is an especially clear one
This is both fascinating and inspiring. I'm pulling out the keyboard and learning Presto Agitato! Been wanting to for a while... should be an interesting endeavor, as a highly novice, few finger, key picker! Lol. But i don't care if I don't play any other piece in my life, as long as i can play Presto Agitato like Valentina Lisitsa! Here we go!
This was the best video of the Taubman technique I've seen so far. All the others have such a poor camera angle that I have no idea what the fingers etc. are doing. I wish all the videos were like this. The other thing is, these techniques seem so easy, why are they not the norm? Or are they and I missed something. Are all piano students being taught this way now and the these videos are only from older students who had poor habits ingrained?
🤔And why I have never heard any great pianists ever mention things like this in the masterclass? Do they assume that we all have the supreme techniques that can be adjusted fluently like the winking eyes. 😉 And wow!!! Your sound has changed!!! Congratulations!!🎉🎊
Excellent, excellent, excellent! I mean, if I’m going to be up all night from insomnia anyway, might as well become a better pianist while I’m at it. Subscribing.
I'm glad to hear Tonebase finally get a good piano sound in one of their videos. I'd recommend using this recording session as a template to improve your ongoing videos. I enjoyed the Mok class on Ravel's Pavane but the piano recording sound is terrible.
Would LOVE a tutorial on how to connect the last measures of the exposition back to the beginning. Two awkward jumps in a row that only a rubato seems to make possible
WOW, talk about almost instant improvement! No offense to Ben, but when he started it was something of a hot mess. He caught on very quickly and the result was striking. Such a valuable lesson, I think that I will go learn the piece myself…
Great insights on technique, definitely need more of this in lessons. My only gripe is the opening, it’s too loud! Should be piano.. with the pedal only used on the sforzando hits!!
Not with Robert Durso. We looked at passages from other pieces, and this was all the work we did on the Moonlight. However, we have a lesson on the full piece taught by John O'Conor on our site: app.tonebase.co/piano/home?tbModal=courseModal&tbModalSlug=john-oconor-teaches-beethoven-moonlight-sonata
Revisiting this piece this past week. Envy the speed and understand the emphasis here is on technique but, musically, all is lost if the dynamics are forte to fortissimo. It's actually a good deal more challenging technically to play this opening (and subsequent repetitions) piano, so that the chords crash in rather than being a continuation/crescendo. Even the repetitions begin with an fp. It works just about right when the total sound energy of the whole race up the keyboard is just equaled in the explosion of the two chords - great power that was submerged suddenly emerges. And there are other places where dynamic restraint is necessary or the essence is lost.
That's exactly the beauty of this method. When you start applying movements that make sense and actually facilitate the fingers to do their job more naturally, then your mind can be at ease and concentrate on things like expression and dynamics. It's a win-win!
8:02 can i know what piece is this? i literally sing it everyday because that particular interval from Bb to C# that sounds so dramatic and beautiful PLS SOMEONE TELL ME
I am not a pianist but can someone please explain to me why pianists feel the need to break the tempo and not keep it absolutely metronomic. for me when they take rubatos in certain popular places it breaks the drive and the fire of the third movement. is it just technically difficult to do those chords in time??
Good question. Classical musicians in general use rubato and agogic emphasis for expressive effect. This is a different aesthetic than more contemporary popular music that features a fixed pulse and a strong back beat. The chords around 0:13, for example, are at the end point of the opening phrase, and pianists often choose to emphasize the drama of that moment by taking a little bit of time. It also helps articulate the contrast with the next phrase. It's a matter of interpretation though. That moment is difficult to keep in time, but it can be done - potentially convincingly. You're on to something. It's true that classical musicians often take too much time, or take time unnecessarily in awkward places, and in general are not taught the value of keeping strict time. Anne-Marie McDermott talks more about the importance of pulse in piano playing here, if you're interested: th-cam.com/video/_LHYBgXg0OI/w-d-xo.html
In the case of 19th century music, ritardandos, accelerandos, tempo rubato, etc. are the historically correct performance practices. There are many accounts of performances from the time period where this is described in detail. To play Beethoven metronomically is incorrect, in my opinion. I would argue that most pianists now a days play much too metronomically. If you listen to pianists from the early 20th century, those that were trained in the Romantic tradition, you will hear much more rubato than is used today.
@@omniphoriusvcf907 I actually think the complete opposite . Much of todays phrasing is not done within the metronome . This was one of the factors that made the old school playing so compelling . It was the ability to play expressively while keeping the tempo and making beauty within it . Heifetz was the master of this including Horowitz .
@@gnatural Well we can disagree,and that is also what Romantic performance practice is all about. If you read accounts from the time period people disagree constantly about the right way to play music. Clara Schumann vs Liszt is a famous example. The point is, in the Romantic style there is not one correct interpretation; every one must find their own. The idea of there is one best way to play a Beethoven sonata is a myth. Read accounts and writers from the time period and you'll see what I mean. Czerny, Beethoven's student, has interesting ideas about tempo changes, for example.
Good videos.. I'd like the idea of Ben who I think studied in Juliard ? ...can still learn ...and we all can.. Pick up all the good things.. I had one very good teacher but it was difficult to change the way I played.. But surprisingly some classical aspects are seen in my non classical playing.
To BEN? The student... I get it. I understand how your break it down.. Mentally see it, slowly see it, shape of it. I get it because this is how I learn a new piece. Everyone learns differently .. it is the outcome after all. 🙂. In addition your teacher has added value & correction... But you have already figured out the mechanics so any further help .. adds polish.
This has to be one of the most valuable piano pedagogy channels on youtube along with Paul Barton, Shijun Wang, and Josh Wright's content.
Danae Dorken too
Also new is greg niemczuk (i probably spelled his last Name wrong but you will still find him)
He is the best on yt for chopin
And cedarvillemusic
@@nehath123 yeah love his chopin lectures
Denis Zhdanov is also great
Ben is great in these: ego out of the way, just here like an enthusiastic beginner. Lots to learn from this little clip.
Exactly
As a beginner player, it's so reassuring to see Ben so open and with child like wonder to and to accept we are all still learning❤❤❤❤
The Taubman work is brilliant. The concepts really need to be part of main stream piano teaching. And Robert Durso gave a heck of a class here.
It is amazing what a sport Ben is here. He's obviously a very accomplished pianist and teacher in his own right, but he's playing the pupil so that we can learn about the Taubman method. How generous he is doing so. Thanks to both of you.
Dear colleagues, my deepest admiration for the brilliance of your playing and the means you express that results in brilliance and speed. But as your admirers, the very opening does nothing to answer the question because neither of you considered what I believe is requisite number one for studying music, and that is what is it's feeling and are we following the compoer's requirements. You see the final movement is marked piano. Your approaches can never arrive at piano unless you discuss major changes in the muscular condition of the arms and body plus other choreographic adjustments. Remember, there are no muscles in the fingers of our hands. There are only tendons and ligaments.
Seymour Bernstein.
When my teacher was injured, he discovered the Taubman approach, and I was lucky enough to learn it 23 years ago. When I was injured practicing cello with a terrible prognosis, I fell back on Taubman techniques - rotation, arm weight, minimizing finger power unless necessary.
Not only did they help bring me back to cello years later, but I can play this mov’t again, some Liszt and Brahms. I cannot thank Dorothy Taubman enough.
Robert Durso shows the sensitivity of a great teacher.
Finally! Some sensible and useful instruction on linking musical demands to a physical gesture. More, please!
D'accord! Yes! More, please!!!!
pleeease give us more videos of prof. Durso, the taubman technique has to become more widely known and Durso teaches it so well.
Ben, it is truly an excellent lesson and a line of improvement and knowledge of the piano by mr. Robert Durso, he knows very well how the piano works and the topography of the keyboard and the natural movements of the hand, fingers and body including de pedal that must be acquired. I am a concert pianist trained in Hungary (Franz Liszt Superior School of Music) with the so-called Russian technique, believe me, your worst enemy is yourself, you have super-accelerated thinking that does not give the brain or the body time to "learn" the gestures and your self-audition to improve your technique, I warmly recommend this pianist and pedagogue who is undoubtedly a great professional. I hope you do not misunderstand my words, there is no kind of being aggressive with you or disrespectful. Thanks for reading me.
i love the word "notice" in this .....AND I love how the other guy challenges the idea of practicing in varied rhythms.... great video ....
Damn, I've been on forums that make fun of the Taubman videos on TH-cam, but this really seems like logical and helpful advice. The problem is that not every Taubman teacher is Robert Durso. I'd love to take lessons with someone who could improve my hand coordination using this very logical, integrated system.
First off, I very much agree that this video is more elucidating than what I've seen from Taubman so far.
I've been teaching myself Taubman for 3 months now, with just their YT videos and Therese Milanovic's master thesis on it, and it's been both a HUGE struggle and at the same time improved my technique hunderfold. I was literally hard-stuck before I discovered it.
My review of Taubman after 3 months would be that the people criticizing it really just don't get it, but at the same time I understand very well why they don't get it - piano playing's just that complex and this video actually does a better job than most of what I've been using 😅
Agreed! This is why we made a whole course on the principles of the Taubman Approach with Bob (Durso) on the tonebase platform, to help clarify the way movements integrate into a unified playing mechanism.
I am a 45y old piano 'apprentice' , now in my fifth year playing and studying in our local music academy. For the first 2 year I suffered from extreme flying pinkie syndrome :p My teacher , who I really love as a teacher, always told me that I had to relax while playing. Well, thats easier said than done... just.. relax..... Later I discovered The taubman dvd series on the internet and for me it was a life changer!! After 3 weeks my pinkies staid down. It just was because of my fingers wernt properly alligned when stroking the key , and it caused lots of tension. I am still in the beginning of my playing journey but whenever I have difficulties with, stretchy parts , or leaps , or long passages,etc.. , i trie to applie what I learned. So I stopped holding on to notes , even if the score sais legato, to avoid tension. My long note passages are really getting better because of better grouping, my scales have improved lots by applying rotation and in and out, and so on.... what taubmann is 'preaching' is as logical as math. its all about fysics and trying to produce the best, with the least ammount of movement and effort. I am so glad I 'discoverded' this and I would recommend al beginner pianists to have a look at it! 😁
@@douwemusic I don't think this video makes much sense without understanding the Taubman fundamentals first. I watched this before fully understanding the technique and thus didn't fully understand everything in this video.
I think the real problem with learning the Taubman technique is that there's almost no organized step by step lesson of every aspect of the fundamental principles that one could find for free. BUT I finally was able to find this video: th-cam.com/video/ci0_pDMgtsk/w-d-xo.html which is Robert in a zoom stream and he actually goes through all the principles step by step, with both a side camera and an overhead camera. After digesting everything in that video, coming back to this video I now understand it fully
I am searching for Taubman videos and this is the first good one I've seen. But, question is, this just seems like common sense really. How can everyone else be doing something else? I mean why would they torture themselves? Also, is Cortot similar to this? I found some fingering of his and that's what started a lightbulb. It was a chromatic descending using 4-5-4-5 that required what I know see was perhaps an in-out-in-out, and though it seemed crazy, it felt great. Or am I way off track here?
It’s 10 years I’ve been using the Taubman approach after 30 years of finger lifting, stretching and complete absence of direction. I must say it’s a pity this technique doesn’t get the attention it deserves. After even 10 years, I still have to remind myself that there is a whole arm there to aid in my playing! If only this technique had been taught to me right from the beginning!
Love Dorothy and Edna - thank God for all the other amazing pedagogues!
I am not a pianist, only an enthusiastic piano player. Thank you for sharing. Learned a lot. Eye opening. Only small changes in holding your hand can bring miracles.
As a former towed student it’s so wonderful to see these concepts in this lesson
Taubman student sorry for the typo
This is a wonderful video, both on how to teach and how to be a non-defensive student and be open to suggestion.
More Taubman stuff please!!!
That’s an very valuable video. The instructions Rob gives are high level piano playing. Simply great and extremely helpful.
Congratulations Mr Durso! I am a concert pianist, well, (I went because I was already retired) and this video posted by you seemed excellent to me, you know very well how the technique works, sorry, the techniques, which requires a good knowledge of the keyboard, of the body , fingers, wrist, arms etc, etc... and good practice for studying. I was based in the Franz Liszt Conservatory of Music in Budapest (Hungary) and I was lucky enough to work with my piano teachers who followed the so-called "Russian" technique, which is very much in line with what you recommend. Thank you very much for reading and congratulations once again.
This lesson blew my mind as I discovered it after starting to learn this about a week ago, and struggling to do the opening without a ton of tension and fatigue. Thank you for this
It may be useful to check out the Taubman Approach itself also, that's a mind blower as well...
@@kovacsdaniel7356 I never followed up with it beyond this piece, but I think it's time to take more lessons, I havent had any in a few years and as I age, this type of approach seems more and more valuable
Find this randomly
I've ended music school and i wanna say: it's looks the same as teacher in music school teached me.
Never seen so good teaching video on YT, it's really very valuable.
Can't believe these guys are talking about playing the piano the way I think about it. Never knew that I was not alone in thinking this.
That moment when Ben discovered that his fingers are a part of his hand. Bravo!
Great lessons from each participant. Wonderful, priceless (literally free), and vast information!
Perfect lesson. Probably worth 3 times as much as would have been asked for (knowing this is a free lesson).
Both teachers are exceptional! Thank you both. Very valuable
I made such a huge improvement in only 1 hour watching this video and trying to do what is explained, it’s awesome! Especially for me, who is selftaught and only plays like 1 1/2 years, this is so valuable! thank you so much! 😊
Thank you for letting this be an in-depth conversation and view into more advanced applications of the taubman work. I often get sick of the cursory or surface-level treatment TH-cam videos give. This video reveals the truth and meat of it.
I am not surprised Bernstein disagrees with the approach. Ha!
Throwing the thumb in during practice is what helps me to keep a faster transition in between. Having said that I’m still only about 70% speed but this is super valuable info! Thank you both.
I studied Exercise Science at university (Rehabilitation and Movement) and within the field it is so common to look at the biomechanics of sports movement, daily living, and even dance which is incredibly artistic as well as being athletic. But i have been quite surprised to learn that musicians and musicianship are almost completely separated from this field of study. Music playing is as much a sport as it is an artistic expression, like dance or even figure skating.
I grew up playing the flute and some piano, and have returned to these beautiful activities later in life. As my mind has been formed to look at movement often in relationship to biomechanics, injury prevention, and efficient movement, i've been frustrated to see that the standard principles of form and technique are usually a one-size-fits-all approach. This should not be the case, even when following the natural laws of body movement regarding piano playing, for example. This video is a wonderful demonstration of how you can maintain those universal laws of movement while still considering the particular build of the student. It also shows the direct relationship of good biomechanics (technique appropriate for the human body) to a beautiful, injury free performance. Well done and thank you for these videos!
piano is a sport fr lol, i remember seeing a comment about tristesse not being so hard to play the main requirement being athleticism for the hardest passage and i did a double take lol but its entirely true, hand athleticism
I have been looking for someone to help me with this piece What a great help this has been.
I don’t even play and this was a very interesting video. It makes me look so much different at those that do play.
This is such an insightful lesson, my fingers are a part of my hand!!
So great to hear these thoughts expressed outloud!
Wow, what an excellent lesson and what an amazing teacher! I enjoyed every second and it inspired me to reconnect with both my body and my piano.
So helpful as I’m 2 years into teaching and seeking to fine tune my classical students (and myself, for that matter!!) ❤
An excellent analysis and approach. I shall be experimenting with some of this advice tomorrow on this same piece.
Such an intellectual lesson!
Thaaaaaanks!!! my fingers are back to my hands, after trying these excellent suggestions!
MORE OF THIS!
I found this enormously helpful. Thank you
Haha, 11 days ago I responded to a video of yours recommending a commenter to check out the Taubman approach because it has helped me tremendously in a very short time. Coincidence? Anyhow, I'm very glad it's finally getting some love and attention because it's misunderstood (and underrepresented) everywhere! And the way you approach piano technique and Taubman in this video is an especially clear one
This is both fascinating and inspiring. I'm pulling out the keyboard and learning Presto Agitato! Been wanting to for a while... should be an interesting endeavor, as a highly novice, few finger, key picker! Lol. But i don't care if I don't play any other piece in my life, as long as i can play Presto Agitato like Valentina Lisitsa! Here we go!
play it like *you* never like someone else.. this is what music was made for
This is such a valuable video on piano pedagogy! Would be interesting to have Taubman tutors here in my country.
I haven’t learned this part yet. Thanks for this tutorial. 😊
"Bob! My fingers are part of my hand!?" LOL @15:00 I choked on water!
Amazing video ...loved every minute of it. Thankyou very much for sharing.
more of these!!! every week!
This was the best video of the Taubman technique I've seen so far. All the others have such a poor camera angle that I have no idea what the fingers etc. are doing. I wish all the videos were like this. The other thing is, these techniques seem so easy, why are they not the norm? Or are they and I missed something. Are all piano students being taught this way now and the these videos are only from older students who had poor habits ingrained?
Wonderful . Just wonderful . Thank you so much
What an amazing and helpful discussion! Mille et une remerciemments!
The first time I have heard professionals get enthusiastic about the Moonlight Sonata
Amazing to watch.
Tonebase thank you for upploading this amazing lessons 🤩
Keep them coming 🤗
I don't play piano yet, but this video taught me that my fingers are part of my hand .
Brilliant. Thx gents
Awesome as usual !!
🤔And why I have never heard any great pianists ever mention things like this in the masterclass?
Do they assume that we all have the supreme techniques that can be adjusted fluently like the winking eyes. 😉
And wow!!! Your sound has changed!!! Congratulations!!🎉🎊
I think taubman is controversial idk
Fascinating!
Absolutely fascinating!!!
this is AmAzing👌🏼👌🏼👌🏼🙏🙏🙏
Excellent, excellent, excellent! I mean, if I’m going to be up all night from insomnia anyway, might as well become a better pianist while I’m at it. Subscribing.
Great stuff indeed!
Thank you kindly🤍
Wow mind blown!!!!!
I'm glad to hear Tonebase finally get a good piano sound in one of their videos. I'd recommend using this recording session as a template to improve your ongoing videos. I enjoyed the Mok class on Ravel's Pavane but the piano recording sound is terrible.
Would LOVE a tutorial on how to connect the last measures of the exposition back to the beginning. Two awkward jumps in a row that only a rubato seems to make possible
Very interesting.
Never stop learning
THIS IS GREAT!!!
Amazing! Thank you
Fascinating.
I started to practice this masterpiece 🎉❤ so happy to watch the progress how can i improve the allegro version.
WOW, talk about almost instant improvement! No offense to Ben, but when he started it was something of a hot mess. He caught on very quickly and the result was striking. Such a valuable lesson, I think that I will go learn the piece myself…
Thank you
Many thanks for this great lesson 🙂
Is there any chance you might do a video about Peter Feuchtwanger?
Great insights on technique, definitely need more of this in lessons. My only gripe is the opening, it’s too loud! Should be piano.. with the pedal only used on the sforzando hits!!
#moretaubman
Robert Durso is a guru.
Boy this durso guy is pretty good...
Very informative!
Wonderful
Golden calf classical music
I like this.
Great lesson
I love this. So many things to learn.
I really need to learn this….
My ukrainian teacher taught me the same, but she definitely wasn't familiar with the Taubman approach. Seems like it's just a natural way of playing.
Please show to descend in Chopin first etude .Ascending is easy if arm and body move laterally .
If its so good why any known pianist says that is using taubman approach?
Especially double rotation thing for scales..
The approach is relatively new
Lifesaver,,,thank you.
Is their more video of the last movement on the website?
Not with Robert Durso. We looked at passages from other pieces, and this was all the work we did on the Moonlight. However, we have a lesson on the full piece taught by John O'Conor on our site: app.tonebase.co/piano/home?tbModal=courseModal&tbModalSlug=john-oconor-teaches-beethoven-moonlight-sonata
Great video
Revisiting this piece this past week. Envy the speed and understand the emphasis here is on technique but, musically, all is lost if the dynamics are forte to fortissimo. It's actually a good deal more challenging technically to play this opening (and subsequent repetitions) piano, so that the chords crash in rather than being a continuation/crescendo. Even the repetitions begin with an fp. It works just about right when the total sound energy of the whole race up the keyboard is just equaled in the explosion of the two chords - great power that was submerged suddenly emerges. And there are other places where dynamic restraint is necessary or the essence is lost.
That's exactly the beauty of this method. When you start applying movements that make sense and actually facilitate the fingers to do their job more naturally, then your mind can be at ease and concentrate on things like expression and dynamics. It's a win-win!
Brilliant
8:02 can i know what piece is this? i literally sing it everyday because that particular interval from Bb to C# that sounds so dramatic and beautiful PLS SOMEONE TELL ME
Bach Invention 4 D Minor. BWV 775
The Piano Sonata No. 14 in C-sharp minor. This is the 3rd movement. I think the previous reply was meant as a joke.
@@cjanebell Umm... the piece on that specific timestamp is actually the Invention # 4. Just the beginning, but unmistakably so.
I am not a pianist but can someone please explain to me why pianists feel the need to break the tempo and not keep it absolutely metronomic. for me when they take rubatos in certain popular places it breaks the drive and the fire of the third movement. is it just technically difficult to do those chords in time??
Good question. Classical musicians in general use rubato and agogic emphasis for expressive effect. This is a different aesthetic than more contemporary popular music that features a fixed pulse and a strong back beat. The chords around 0:13, for example, are at the end point of the opening phrase, and pianists often choose to emphasize the drama of that moment by taking a little bit of time. It also helps articulate the contrast with the next phrase.
It's a matter of interpretation though. That moment is difficult to keep in time, but it can be done - potentially convincingly.
You're on to something. It's true that classical musicians often take too much time, or take time unnecessarily in awkward places, and in general are not taught the value of keeping strict time. Anne-Marie McDermott talks more about the importance of pulse in piano playing here, if you're interested: th-cam.com/video/_LHYBgXg0OI/w-d-xo.html
In the case of 19th century music, ritardandos, accelerandos, tempo rubato, etc. are the historically correct performance practices. There are many accounts of performances from the time period where this is described in detail. To play Beethoven metronomically is incorrect, in my opinion.
I would argue that most pianists now a days play much too metronomically. If you listen to pianists from the early 20th century, those that were trained in the Romantic tradition, you will hear much more rubato than is used today.
@@omniphoriusvcf907 I actually think the complete opposite . Much of todays phrasing is not done within the metronome . This was one of the factors that made the old school playing so compelling . It was the ability to play expressively while keeping the tempo and making beauty within it . Heifetz was the master of this including Horowitz .
@@omniphoriusvcf907 I also looked at the score and could not find a single spot where Beethoven said to slow down.
@@gnatural Well we can disagree,and that is also what Romantic performance practice is all about. If you read accounts from the time period people disagree constantly about the right way to play music. Clara Schumann vs Liszt is a famous example. The point is, in the Romantic style there is not one correct interpretation; every one must find their own. The idea of there is one best way to play a Beethoven sonata is a myth. Read accounts and writers from the time period and you'll see what I mean. Czerny, Beethoven's student, has interesting ideas about tempo changes, for example.
Good videos..
I'd like the idea of Ben who I think studied in Juliard ? ...can still learn ...and we all can..
Pick up all the good things..
I had one very good teacher but it was difficult to change the way I played..
But surprisingly some classical aspects are seen in my non classical playing.
Checkpoints! Yes
18:20 he always hated any fingering for that broken passage then bob illuminates everything by just moving his elbow a couple inches
To BEN? The student... I get it. I understand how your break it down.. Mentally see it, slowly see it, shape of it. I get it because this is how I learn a new piece. Everyone learns differently .. it is the outcome after all. 🙂. In addition your teacher has added value & correction... But you have already figured out the mechanics so any further help .. adds polish.