Part 3 -- Choreograph of the Hands: The Work of Dorothy Taubman
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- Опубліковано 1 жов 2024
- "No serious musician interested in the essential relationship between physical and artistic elements in performance can afford to ignore Dorothy Taubman's illuminating and revolutionary discoveries." -- Peter Takacs, Oberlin College Conservatory of Music
Reviews
"Producer-director Ernest Urvater is to be congratulated for this fine documentary providing an introduction to the far-reaching work of Dorothy Taubman." Clavier Magazine
"...a delight, a challenge, and an important example of the best use of video technology to capture music in the making and great teaching in action." Piano Quarterly
what a marvelous and interesting woman she was may she rest in peace, i wish i could find a teacher like her I literally have learned so much in these videos than hours of courses or lessons.
I studied this approach for a while. About four years to be exact.
The only thing, in my case, I found it limiting and the grouping of the notes, rotation, etc, while it might be a healthier approach for most, in my case it affected the overall sound and interpretation. I no longer sounded like myself playing.
-_- learned more from these 15 min vids then 5 year piano lessons
Painfully accurate
Drop the same object several times and gravity will always land it at the same speed. If you want it to land faster, external force will be needed. Her principle is Intuitive but false, at least incomplete.
10:05 Every teachers' drug
Qué vieja divina la Tauban
Interesting octave theory but totally in reverse. Gravity is slow not fast. A hopeless explanation for not slowing down. Rather, the up is passive due to a reaction and the key movement is the part you involve muscle. The idea of falling passively fast enough to account for Horowitz octaves is comical.
Not entirely. The main point here is that gravity's vector points down. You don't need as much arm muscle work to drop the hand as you do to raise it, especially taking advantage of the rebound from the keys as you point out. So the trick to playing octaves without producing an aching forearm muscle is to time your muscular activity properly realizing that gravity helps you in the downward direction. Many pianists do it naturally, their body senses what to do. If you don't do that your arm starts screaming. It is quite common to see people frantically going up and down, exactly 180 degrees out of phase with gravity. It is very similar to what happens when you tie one end of a rope to the wall and then shake the other end to get standing waves on the rope. Very often you watch people do that exactly out of phase and they are pumping their arm furiously up and down and going crazy because they aren't in phase and the rope moves chaotically and will not absorb the energy you are trying to give it. Once they get the phase right, they hardly need any up and down motion at their end of the rope to keep the standing waves going.
Emily EmilyOnMyMind Not what she said at all. She said you can't alternate between opposing groups that fast. If it's a bit of gravity and a bit of muscular activation downwards to fill in the massive shortfall in speed, it violates that original principle. Anyway, she was explicitly claiming that gravity did the down bit for you (without muscles!!!) and that is totally unsupportable in relation to the actual rate of acceleration that gravity works at. If anything, the opposite of what she said is true- where hand activation bounces the hand back up and muscles plus gravity looks after the key movement.This eliminates the need to use the muscles for upward movements- not in downward movements, as she claimed. When you see it accurately- you realise how much octaves are about the hand rather than the arm. Only an active finger and thumb motion can generate the reactions required to eliminate the need to lift up (and it also explains why fast speeds are possible in spite of gravity being slow). She's got it completely wrong here, sorry. She may have found a way to help people in practise, but her explanation is way wide of the mark.
Emily EmilyOnMyMind
PS. Gravity is not timed. It's a constant force. I have no idea what being in or "out of phase with gravity" is supposed to mean- either scientifically or on a subjective level. No such thing exists. Pianistically, you actually do have to go out of phase between the direction of your activations vs where the arm is going at the moment. The only way to be in phase is to be rigidly stiff. It seems that what you are calling "out of phase" is actually a problem of being too precisely IN phase. As there is a time lag when something is not rigid, there will be times when you're already trying to go one way while the arm is still moving the other way. That is a natural part of the most efficient mechanism for rapid reversals. You have to start slowing something before it can reverse direction- thanks to the existence of momentum. At fast speeds this becomes outright unavoidable.I wouldn't want to speculate on the exact arm issues during fast octaves, but what I know for sure is I couldn't play the 6th rhapsody without stiffness until my finger and thumb started taking responsibility for the movement- rather than simply try to pass on arm movement to the key.
All words but every one who plays is equally tense and uncomfortable. They think that now they are better? Wow.
3:30 Love the melody here, makes me happy like Christmas!
Yes, Mephisto Waltz by Liszt.
bravo!:)
@0:43
Yes it is Natan. He was a splendid musician.
can you play better? show it please!!!
These are great, thanks for sharing!
Anybody know the song at 9:47?
Liszt, mephisto waltz no.1
what's the piece at the very start of the video?
Liszt--Variations on a Theme by Paganini
what is the piece right around 11:00?
Ian Storz Franz Liszt's Mephisto Waltz is the piece being played alternately by three different pianists.
What is the song at 3:08 please?
I believe it is Minute Waltz, by Milton Babbitt
I would love to see Dorothy Taubman demonstrate by actually playing the passages or pieces she teaches with such vigor. Was Taubman actually able to play the works she teaches? I hear her students claim that she had such a grasp on movement and piano playing, then I expect her to be able to play. Thank God my teachers could. If I was playing the Chopin Scherzi, my teacher could play them all, as she did playing and recording all the 32 Beethoven piano sonatas.
This is about the students, not the teacher. Is like if you ask a sport coach if he could play as well as the players. Is NOT necesary, even if they can. Actually there're plenty of them that never develope themself in the highest level but are models as coaches.
I would love to see Dorothy Taubman demonstrate by actually playing the passages or pieces she teaches with such vigor. Was Taubman actually able to play the works she teaches? I hear her students claim that she had such a grasp on movement and piano playing, then I expect her to be able to play. Thank God my teachers could. If I was playing the Chopin Scherzi, my teacher could play them all, as she did playing and recording all the 32 Beethoven piano sonatas.