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#1524083 - 09/28/10 02:43 AM Re: Taubman/Golandsky methods [Re: Tubbie0075]
chopin_r_us Offline
500 Post Club Member

Registered: 09/17/10
Posts: 948
Loc: UK
Justanotherpianist - if you are saying your playing has Taubman as a foundation - then I agree with the rest of your post. If you've turned your back on it then...

Not that Taubman started anything. All those teachers or 'quick fix crowd' as Dave calls them who spoke about a singing touch taught the same thing. Here's the Lhevinnes:
Quote:
Again as the hand descends, as large a surface of the fingertip as feasible engages the key, and the wrist is so loose that it normally sinks [I appreciate not Taubman] below the level of the keyboard. Observe your hand sensations very carefully. The tone is produced in the downward swing of the hand...The other notes, if melody is to be played legato, must be taken with the fingers near the keys, raising or dropping the wrist according to the design of the melody.

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#1524125 - 09/28/10 06:10 AM Re: Taubman/Golandsky methods [Re: Tubbie0075]
JustAnotherPianist Offline
500 Post Club Member

Registered: 11/20/08
Posts: 798
Loc: United Kingdom
I cannot say my playing is based on a Taubman foundation. If a given passage calls for a modicum of rotation I am by no means afraid to use rotation.

I would say the foundation of my technique is NOT Taubman....but I use my Taubman training as an auxiliary force when it is needed. And don't get me wrong, it IS useful, in fact more than useful, it is ESSENTIAL for certain kinds of passage. But these passages are rare...there is ONE of them in the entire Rachmaninov Third Concerto.

The majority of playing requires a different approach to technique. In the words of my girlfriend, who is a MONSTER pianist, 'you don't want movement that's not intrinsically related to the passage you are playing'.

The strength which I described in my previous post is what is required in order to have the utmost control over the ballance of textures at the piano. This strength is developed by doing things at the piano which would make a Taubman teacher cringe.

Avoiding injury at the piano does not require a Taubman technique. In order to avoid injury, we must have good practice habits and a fundamental understanding of what RSI's are and what causes them.

I have yet to see a hardcore Taubman adherent produce a great recording. You will find in the professional circuit that something like the approach I describe is the norm. There is a range on the professional spectrum, no doubt.

But you don't get many people who obsess about rotation to the degree that Taubman/Golandsky do.

Rotation can be a useful tool in certain situations, but it simply isn't the cornerstone which T/G think it is.

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#1525002 - 09/29/10 01:25 PM Re: Taubman/Golandsky methods [Re: Tubbie0075]
D4v3 Offline
500 Post Club Member

Registered: 10/07/09
Posts: 501
Loc: Fort Worth, Texas
@ JustAnotherPianist

Hey I liked your Chopin Sonata Recording thank you for posting it!

As I was watching it I thought... I know this guy from somewhere... then it hit me... Is this guy from the movie Battlefield Earth?



_________________________
Currently learning composition:

Some of my compositions

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#1526019 - 10/01/10 03:50 AM Re: Taubman/Golandsky methods [Re: Tubbie0075]
Elissa Milne Offline
1000 Post Club Member

Registered: 01/11/10
Posts: 1337
Loc: Sydney, NSW, Australia
There's a pedagogy lecture circuit?
_________________________
Teacher, Composer, Writer, Speaker
Working with Hal Leonard, Alfred, Faber, and Australian Music Examination Board
Music in syllabuses by ABRSM, AMEB, Trinity Guildhall, ANZCA, NZMEB, and more
www.elissamilne.wordpress.com

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#1526070 - 10/01/10 07:46 AM Re: Taubman/Golandsky methods [Re: Elissa Milne]
Canonie Offline
1000 Post Club Member

Registered: 10/04/09
Posts: 1941
Loc: Australia
Originally Posted By: Elissa Milne
There's a pedagogy lecture circuit?

You're on the antipodean bump of same wink
no?
_________________________

Composers manufacture a product that is universally deemed superfluous—at least until their music enters public consciousness, at which point people begin to say that they could not live without it.
Alex Ross.

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#1526078 - 10/01/10 08:10 AM Re: Taubman/Golandsky methods [Re: Canonie]
Elissa Milne Offline
1000 Post Club Member

Registered: 01/11/10
Posts: 1337
Loc: Sydney, NSW, Australia
Originally Posted By: Canonie
Originally Posted By: Elissa Milne
There's a pedagogy lecture circuit?

You're on the antipodean bump of same wink
no?

Apparently so!! I certainly do get around a lot (in the last 12 months in any case), so if talking to piano teachers frequently means you are part of a circuit..... YEP!!!!

But the term "Pedagogy lecture circuit" sound so... organised, so..... conspiracy theorist! Here in Australia there is one biannual Piano Pedagogy Conference, so I guess that would qualify, and then there are state Music Teacher Association conferences, also usually biannual, so maybe they are part of the 'circuit' as well? (That means there would be, on average, 3 or 4 piano teacher conferences held in all of Australia/New Zealand each year, and most teachers would only be able to access 1 conference per annum.)

Then there are the in-store events that print music retailers hold, but I'm not sure that is so much part of a 'pedagogy lecture circuit' as it is about product education and promotion - letting teachers know what's new that they can use in their teaching, what new music has been composed and arranged, etc.

And then there are events put on by the examination boards, but again, not so much pedagogy, more about the latest syllabus developments.

The original reference to a circuit made it sound as if there is this well-worn track that shysters can plod around fleecing piano teachers as they go. Does Australia just not boast a lot of shysters, or is our circuit not circuitous enough, or.....?
_________________________
Teacher, Composer, Writer, Speaker
Working with Hal Leonard, Alfred, Faber, and Australian Music Examination Board
Music in syllabuses by ABRSM, AMEB, Trinity Guildhall, ANZCA, NZMEB, and more
www.elissamilne.wordpress.com

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#1527255 - 10/03/10 06:36 AM Re: Taubman/Golandsky methods [Re: Elissa Milne]
chopin_r_us Offline
500 Post Club Member

Registered: 09/17/10
Posts: 948
Loc: UK
Originally Posted By: Elissa Milne
The original reference to a circuit made it sound as if there is this well-worn track that shysters can plod around fleecing piano teachers as they go. Does Australia just not boast a lot of shysters, or is our circuit not circuitous enough, or.....?
My guess is the 'circuit' only really exists in someone's imagination. I've attended a number of master classes and can't think of one that didn't have something valuable to offer. Maybe someone needs to get out more.

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#1528292 - 10/04/10 10:11 PM Re: Taubman/Golandsky methods [Re: Tubbie0075]
apple* Offline


Registered: 01/01/03
Posts: 19862
Loc: Kansas
tubbie.. you might seek info in the Pianists' corner. there seem to be fans there.
_________________________
accompanist/organist.. a non-MTNA teacher to a few

love and peace, Ă•un (apple in Estonian)

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#1528306 - 10/04/10 10:47 PM Re: Taubman/Golandsky methods [Re: Elissa Milne]
Kreisler Offline


Registered: 11/27/02
Posts: 13789
Loc: Iowa City, IA
Originally Posted By: Elissa Milne
There's a pedagogy lecture circuit?


There is in the USA. At the major conferences (MTNA and NCKP), one sees the same names over and over and over again. Breaking into the circuit is difficult. I've applied to present at MTNA at least five times on three different topics and have yet to be selected. Other friends of mine have had similar luck getting a slot to present.

What's worse is the divide between performers, college faculty, and teachers of precollege students in the US. It's rare to find a performer with the local symphony visiting area schools and giving additional recitals and masterclasses, and colleges tend to trade faculty recitals with each other, rarely inviting concert pianists (whose fees are often too high) for concerts or masterclasses.
_________________________
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)

www.pianoped.com
www.youtube.com/user/UIPianoPed

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