Achieving perfection on the keyboard is no longer about extensive practice. New information reveals that there is a formula that maestros use to hit their best potential. The Taubman Approach was developed after analyzing the techniques used by the best pianists over five decades. This eliminated the notion that these maestros used the trial and error method to reach their great achievements.
Over five decades, Dorothy Taubman, a Brooklyn based pedagogue developed this approach with the aim of solving some of the technical problems that affected players. The idea was to find an ordered and rational way of playing with ease. Her suggestions have enabled ordinary pianists to graduate into world renowned instrumentalists.
The realization that pianists were influential artists was revealed to be important in advancing their skills. By understanding their positions and claiming them, it would be easy to achieve full potential. Remaining in the background meant that the pianist gave away his influence over the music.
One of the influential observations made was that children, whose play was intuitive and naive played with ease yet adults, who were more conscious, lost the childhood grace. She also sort to identify the underlying simplicity that was in the complex act of playing the piano. This led to the discovery of coordinated motions through which each part worked to produce the best results.
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.
With coordinated movements, each part of the finger naturally responds in a manner that delivers the most mechanical advantage. She gives a scenario where the forearm compensates for lack of speed compared to the large upper arm by initiating motion. Every pianist must seek freedom and utmost precision. It is the principle of maximum results for minimum effort that will make this possible. The refusal by a player to follow these principles, in her conclusion has caused boredom and pain during play.
A major discovery from this review that is worth noting was the realization that some experienced pianists reported cases of musculoskeletal disorder. This was attributed to use of wrong technique. However, with rectification they experienced relief and healing. Even those who were previously hurt playing managed to produce better performance.
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.
Over five decades, Dorothy Taubman, a Brooklyn based pedagogue developed this approach with the aim of solving some of the technical problems that affected players. The idea was to find an ordered and rational way of playing with ease. Her suggestions have enabled ordinary pianists to graduate into world renowned instrumentalists.
The realization that pianists were influential artists was revealed to be important in advancing their skills. By understanding their positions and claiming them, it would be easy to achieve full potential. Remaining in the background meant that the pianist gave away his influence over the music.
One of the influential observations made was that children, whose play was intuitive and naive played with ease yet adults, who were more conscious, lost the childhood grace. She also sort to identify the underlying simplicity that was in the complex act of playing the piano. This led to the discovery of coordinated motions through which each part worked to produce the best results.
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.
With coordinated movements, each part of the finger naturally responds in a manner that delivers the most mechanical advantage. She gives a scenario where the forearm compensates for lack of speed compared to the large upper arm by initiating motion. Every pianist must seek freedom and utmost precision. It is the principle of maximum results for minimum effort that will make this possible. The refusal by a player to follow these principles, in her conclusion has caused boredom and pain during play.
A major discovery from this review that is worth noting was the realization that some experienced pianists reported cases of musculoskeletal disorder. This was attributed to use of wrong technique. However, with rectification they experienced relief and healing. Even those who were previously hurt playing managed to produce better performance.
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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