Choreography of the Hands: The Work of Dorothy Taubman

[@yoyichen4470]

As an ordinary piano beginner, I feel very lucky to be able to watch and “participate” in such a first-class world master class. Thank you YT!

[@rogeralleyne9257]

Dorothy Taubman's expertise and passion makes me want to play all day & night!!🙏🙏🙏

[@mantistoboggan2676]

Im a beginner woodwind player and find these ideas applicable to woodwind. Thinking of ‘lifting’ of fingers in stead as rotations of the entire hand, thats a subtle distinction that makes a very big difference.

[@ASDPOWER]

Brilliant inspiring I am back at it after 40 years and her ideas are already helping me play with less effort and tension!!!!! I do a lot of yoga and it would also help a lot in terms of releasing tension and stress especially for the upper neck and back areas.

[@turbofreddy]

This is pure gold thank you

[@DC-no3qt]

Taubman was amazing. She connected technique to musicality. Most Golandsky instruction I've seen seems to be purely technique, which is great as far as it goes. But Taubman was a master of it all.

[@viggos.n.5864]

Nah that's not true.

[@kingiburu2778]

@@viggos.n.5864 the truth is whatever you believe in.

[@viggos.n.5864]

?

[@bigbong620]

@@kingiburu2778 The Truth is out there.

[@williamtaittinger4529]

what youre talking about kid, Golandsky is a G

[@peter5.056]

Taubman and Golandsky are both COMPLETELY BRILLIANT! Thanks to you, forever:)

[@99zxk]

One thing I always think about when I see something about some miracle technique is that it always involves concert pianists and not everyday people starting new.

[@monody911]

I incorporate this method for my students from the very first beginning lesson. For those who have taken for some months or even a year or a few years, almost without exception, as soon as they feel how it releases tension and frees the hands and arms to move relatively effortlessly, it's an epiphany and immediately improves their playing, speed, coordination, and flow. This is for everyone at all levels. And, watching virtuosity doesn't necessarily have to intimidate or shame beginning and intermediate players. It''s your inspiration. In many ways, it's much clearer to see how the motions and methods work in these more dramatic examples, and by those who learn quickly and immediately incorporate new techniques so we can instantly see/hear the difference. So, take courage! It's not just a "miracle technique." It's the very definition of technique, that is, whatever is the most efficient, effective way to execute motions so to play beautifully with ease is technique. Otherwise, we're just confusing effort with results.

[@99zxk]

@@monody911 What I meant is that these techniques are always incorporated after someone has already spent years studying, so they come to them with great abilities and it's never demonstrated with someone without the traditional finger school foundation. I've been trying some of these ideas and I feel that it has helped, but I'm also returning to the piano after having several years away after college, so I'm not sure where I fall in the beginner - virtuoso ranges. Is it helping my technique, or is it regular practice?

[@monody911]

@@99zxk Sorry that I only just saw your reply. I see what you're saying now. It's hard and confusing to return after being away. I've done it. I went back to graduate school after being away from violin and piano for more than a decade. I took lessons and practiced for two years first. Then they gave away my scholarship the day before I moved there so I had to take the graduate accompanist position to pay tuition. That alone was a full 40 hrs/wk.and the last thing I ever got to do was practice violin. Saying it was difficult is a gross understatement. So I teach a lot of adults who are beginner to advanced, some of whom are returning after long breaks. But I, too, have thought that it's one thing to introduce this to relatively young prodigies and people coming to it with years of study and the best training available. It's another to be a good, even talented, and perhaps older player who isn't necessarily already playing at such an advanced level. My older students are struggling with it some at all levels, even thought they can immediately feel the difference. To your question, I doubt you can separate the effects of just practicing in general from introducing a more relaxed hand, etc. And it really doesn't matter unless youfeel really impeded by focusing on that new element and get discouraged altogether. Don't let that happen! But hey. Maybe you need a teacher/coach. Or, if you want some guidance for your return I'm available for Zoom lessons. It's not great to take online, but you could just need monthly or bi-monthly check-ins with someone to provide a third ear and help you solve problems that arise. Let me know! 😊

[@Karlinberlin1]

Every time I watch this I learn something new. Thanks for re-postng.

[@musicplayfox9203]

This is an absolute gold!

[@jackiwannapaint]

amazing, brilliant, extraordinary--the equivalent of some biblical tale

[@thomasabildgaard9230]

Thank you Robert that was inspiaring with the scale. The technical solution on beginning of the ondine gave a technical idea on how to play Brahms exercise no. 38 from 51 ( not area😢) but the exercises for Clara Schumann. In no 38 one can also go inwards with lateral forearm and natural relaxed hand as one unit without bending the handwrist from side to side. And next the rebound you mentioned so in no 38 only the first chord swings up the unit and the next 3 16 notes comes with the natural relaxed hand to ensure no aftertension so it should be felt like 4 beats each bar but its challenging with the difficult grips close to the lid. I was taught that the lateral movement of the loose unit a letter no 8 laying down letter no 8. But thanks you demonstration gave the last clue tgat obe can go inwards to the lid with an unblocked carpal tunnel so the airflow dont get stock. Best greetings Thomas

[@redwren4182]

During my audition to the conservatoire (not this one), I was asked to play a b major scale on the tips of the Black keys. I was young at the time with not much control and thought this helped. The more I continued this approach the more it felt my arm was 'working' which felt good but years have passed now and this has become unsustainable and now feels unnatural. This video makes me wish I had Taubman as my instructor. I'm glad her work has been put online for everybody's benefit. Xx

[@qzrnuiqntp]

See Horowitz playing. He was not bad as a pianist.

[@redwren4182]

@@qzrnuiqntp not bad haha. There are multiple conservatoires because people can agree to disagree on matters like these.

[@qzrnuiqntp]

@@redwren4182 What I meant is whatever you like or not his renditions, his technique was great, he played without tensions and at his best had the best dynamic and color control ever. Obviously other great pianists are great to see playing (even photos and pictures...) : Hoffman, Cherkassky, Michelangeli, Peterson, Hines, Argerich, Neuhaus father & son, Cziffra, Richter, and many more...

[@pianofogel1]

The miracle that is Dorothy Taubman. I wonder if any of the other footage filmed over previous summers still exists?

[@peter5.056]

For my body shape, sitting high enough so that my forearms slope slightly downward to the piano, about a 100º angle at the elbows, absolutely gives me the greatest power and control, because it allows me to much more easily transfer motion from my shoulder girdle to my fingers. If I sit with level forearms, and I tried, it wrecks my technique.

[@immajustabear]

If you play once a week, that’s fine. If you play longer, you will eventually get injured (or already, depends on that unnatural position). Not my own word, just go ask any physiologist.

[@peter5.056]

I've been playing like that for 35 years, and I've never been injured, except for the one time I lowered my piano bench because a teacher told me I'd get injured from sitting higher than usual.@@immajustabear

[@thomasabildgaard9230]

I can add that I heard once that an old german pianist Arthur Schabel said: immer spielen Sie zu den Klavierdeckel hinein und leicht aufwaerts. I think actually that was what Robert said about the ondine that its possible with the right adjustment its possible to feel the light weight of the keys even when very close to the lid.

[@greenbox5714]

I really want to learn how can be cured at 2 lessons or under 10 mins. Like a miracle... What she tought to the students, so they can able to change suddenly.

[@KingstonCzajkowski]

Only some problems can be solved that quickly. I've had this experience, though - my teacher, who studied with Taubman and now works for the Golandsky Institute, often shows me a division between the hands or a change in shaping that instantly fixes an entire passage. I've never had injury, however, so I can't speak to that.

[@Ron-ls6ob]

I bet all of these musicians are world class now

[@Wibgloria]

Yeah and likely all unknown and broke

[@katttttt]

This is sad lol

[@shaunnagunderson3232]

Without going under with your thumb during a scale, how do move forward on the keyboard

[@EvanZamir]

It's funny how different people sounded in the 80s (or maybe this is the early 90s?).

[@Vikingvideos50]

Brilliant

[@ragestacker]

13:00 save for me

[@anthonydasilva1680]

what is she playing at 39:50 please ?

[@pianisthenics]

Liszt mephisto waltz no.1

[@zeroossi5967]

Thanks for this knowledge

[@defaultHandle1110]

Hmmm without being taught by a real teacher how can one learn this ? Without bringing it all together from a bunch of videos ?

[@gaspardbaloup8014]

Someone has to start somewhere alone no? The smart way, thourgh rationality.

[@pianodionisíaco]

I can teach you via zoom. What are you playing?

[@midnightmusic1087]

I don’t even think Martha Argerich plays octaves as good as 45:29.

[@subplantant]

No she really does

[@pianisthenics]

She does 😂

[@Hezron389]

Good lord, the ads. Every other minute 😑

[@adlerharry3280]

...1st. rule: the student's responsibility is to learn to feel how where and when the body makes the finger react involuntarily... learn to feel cannot be taught!!!

[@adolphusdickens912]

.

[@Fatrabbit29]

My way honestly to overcome this by accidents is that, I trained weightlifting like pro. When u deadlift over 200kg and do Olympic weightlifting regularly with a coach. Trust me , piano gives you back pain or arm pain is simply nonsense. Ur upper body muscle is so well developed to simply ignore the burden of only some body movements. I play piano as my profession , while training weightlifting like a pro at the same time . Hope my example is another way to solve the problem .

[@sanchopansa1950]

Surprised to learn that. Aren't piano and weightlifting totally opposed to each other ? piano requires relaxed limbs. dumbbells are just the opposite. how can you blend the two ?

[@Fatrabbit29]

@@sanchopansa1950 hi, i dont do the two things at the same time. I train muscle development at the gym , after that I can relax very well. being strong doesn't mean you can not relax, quite opposite the stronger you are more relax you can be when dealing with movement , at the piano. I don't play piano right after I trained, I make sure I am totally relaxed. the bulky muscle looks bulky, but not tensed. they are big but also can be very relaxed.

[@sanchopansa1950]

@@Fatrabbit29 kimiko ishizaka. she is similar. weightlifting and pianoplaying as well.

[@williamtaittinger4529]

if you also drive a lambo then you, sir, are a G

[@pianisthenics]

That depends also on your technique and the pieces you are playing at the piano. I don’t do over 200 kg deadlift (max was 160 kg at 72 bw) but I did gymnastics/ calisthenics at very high level (flag, planche, frontlever) you still can get fatigue if you are playing the pieces way above your technique level and don’t know how to relax properly

[@Andreylarin1]

3:44

[@anthonydasilva1680]

please what is she playing at 39:50 ? thanks

[@maltepeters9910]

Mephisto Waltzer - Liszt