Playing the piano is both an art and a science. It has always been considered an art that requires extensive practice to master, but the Taubman Approach has changed the perspective of music teachers and scholars. This theory came out of the realization that piano maestros use a particular formula to perfect their skill. In fact, there is a feeling that it takes trial and error to achieve the highest level of expertise.
Dorothy Taubman, a pedagogue based in Brooklyn sort to provide a solution to technical difficulties facing some of the best pianists in the world. She studied their system of playing over fifty years. She hoped to find a formula that these experts use to manage such an easy play even on the most difficult pieces. The results of her survey have helped amateur players to climb up the ladder and become world renowned pianists.
According to the analysis by Dorothy, it was necessary for pianists to stop regarding themselves as plain instrumentalists. They were artists on the keys controlling and influencing crowds. The aim of this analysis was to enable ordinary pianists to understand their role and achieve full potential. It was impossible to realize this potential without recognizing your role in the ensemble.
Her assessment was motivated by the revelation that children intuitively play with ease yet the transition into adult consciousness reduced the skill of a player. The natural expectation would be that adults found it easier. Her hypothesis was that there must be simplicity in complexity. This is the point she discovered that existence of coordinated motion that allows each finger and body part to produce its best.
Several deductions can be made from her analysis. She concludes that to achieve maximum accuracy with minimum fatigue, coordinated movements allows involved joints to respond as close as possible to their mid-range of action. Kinesthetic judgment is enhanced in this case. In a situation of extreme motions, it is the increase in tension that enables these motions to happen.
Coordinated motions led to natural responses with fingers endeavoring to produce actions that delivered the best mechanical advantage. An example that was given was the compensation by the slow forearm which instead initiates motion to cover the speed of the larger upper arm. The quest for every pianist should be accuracy and speed. The underlying push is the desire to produce maximum results with least effort. When a player fails to follow these rules, his play becomes mundane and painful.
What did the analysis reveal? One of the revelations was a common occurrence of musculoskeletal disorder that was related to playing the piano. Her discovery was that through coordinated playing, victims of this disorder found relief. Turning to coordinated playing also helped previously injured pianists to achieve higher mastery and prowess than they did before the injury.
The conclusion was that a player and his hands relaxed for using the right motions other than mere play. Even with a long break, resumption is easy and seamless because a player has already understood the rules. In case of a technical difficulty, she concludes, a player should look for correct diagnosis other than attempt to practice more. To become a maestro, according to Dorothy, you need to understand the rules other than intensify practice on the wrong technique.
Dorothy Taubman, a pedagogue based in Brooklyn sort to provide a solution to technical difficulties facing some of the best pianists in the world. She studied their system of playing over fifty years. She hoped to find a formula that these experts use to manage such an easy play even on the most difficult pieces. The results of her survey have helped amateur players to climb up the ladder and become world renowned pianists.
According to the analysis by Dorothy, it was necessary for pianists to stop regarding themselves as plain instrumentalists. They were artists on the keys controlling and influencing crowds. The aim of this analysis was to enable ordinary pianists to understand their role and achieve full potential. It was impossible to realize this potential without recognizing your role in the ensemble.
Her assessment was motivated by the revelation that children intuitively play with ease yet the transition into adult consciousness reduced the skill of a player. The natural expectation would be that adults found it easier. Her hypothesis was that there must be simplicity in complexity. This is the point she discovered that existence of coordinated motion that allows each finger and body part to produce its best.
Several deductions can be made from her analysis. She concludes that to achieve maximum accuracy with minimum fatigue, coordinated movements allows involved joints to respond as close as possible to their mid-range of action. Kinesthetic judgment is enhanced in this case. In a situation of extreme motions, it is the increase in tension that enables these motions to happen.
Coordinated motions led to natural responses with fingers endeavoring to produce actions that delivered the best mechanical advantage. An example that was given was the compensation by the slow forearm which instead initiates motion to cover the speed of the larger upper arm. The quest for every pianist should be accuracy and speed. The underlying push is the desire to produce maximum results with least effort. When a player fails to follow these rules, his play becomes mundane and painful.
What did the analysis reveal? One of the revelations was a common occurrence of musculoskeletal disorder that was related to playing the piano. Her discovery was that through coordinated playing, victims of this disorder found relief. Turning to coordinated playing also helped previously injured pianists to achieve higher mastery and prowess than they did before the injury.
The conclusion was that a player and his hands relaxed for using the right motions other than mere play. Even with a long break, resumption is easy and seamless because a player has already understood the rules. In case of a technical difficulty, she concludes, a player should look for correct diagnosis other than attempt to practice more. To become a maestro, according to Dorothy, you need to understand the rules other than intensify practice on the wrong technique.
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