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Virtuosity in a Box: The Taubman Techniques [10 avi]

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Virtuosity in a Box: The Taubman Techniques [10 avi]

Virtuosity in a Box: The Taubman Techniques [10 avi]
English | Size: 6.16 GB (6,610,782,660 bytes )
Category: Tutorial

Unlock the virtuoso within you...
The Taubman Approach is the world's leading method for playing various styles of music from classical to jazz to pop with brilliance, freedom, and ease. Initially intended specifically for pianists, the Taubman Techniques video series is widely recognized as the leading self study resource for learning this approach. Countless pianists, cellists, violinists, woodwind players, percussionists, and other musicians around the world have witnessed dramatic improvements to their playing ability thanks to the technical savoir-faire, musical insights, and knowledge taught in these videos.


Topics Covered
Presentations By Edna Golandsky
Master Classes By Dorothy Taubman

Note: All demonstrations are conducted on the piano. It is recommended that pianists study volumes 1-10 and other musicians study volumes 1-5.

Volume 1: Introductory Principles and Concepts
Principles of coordinate movement
Mechanics of the piano
The leverage system
The muscles involved in piano playing
Finger movements analyzed
How to determine height of bench
Cause of injuries
An evaluation of exercises
Master class: Liszt Sonetto del Petrarca #104

Volume 2: Forearm Rotation
Why "forearm rotation" for finger work, speed
Double rotation and single rotation
Use of the thumb in the Taubman Technique
Forearm rotation in scales, chords, arpeggios, repeated notes, double thirds
Working with the injured pianist
Tobias Matthay and forearm rotation

Volume 3: In-and-Out Arm Movements
In-and-Out Arm Movements
Backward and Forward Shifts
-for different finger lengths
-from white to black key area, vice versa
Forearm rotation combined with in & out arm movements
Scales & arpeggios
Solution for wide fingers in black key area
Double note tremolos

Volume 4: The Walking Arm & Hand Movements
Lateral and vertical forearm adjustment
Synchronization of fingers, hand and forearm
Forearm and hand weight for chords
Legato chords and intervals
Negotiating distances
Combining walking arm with rotation
Broken octaves
Alternating from double intervals or chords to single notes

Volume 5: Shaping and Octaves
Shaping to combine all movements via curvilinear motion
Technical and interpretive aspects of shaping
Handling chords, intervals, legato and dynamics
Rotation and octaves
Free fall and rebound of forearm
Legato and speed in octaves
Master Class Excerpt: Schubert, A Major Posthumous Sonata

Volume 6: Grouping
How principles of grouping can help organize passages for ease of execution
Grouping to avoid stretching
Grouping for different densities of notes
Grouping to facilitate changes of direction
Grouping to facilitate leaps with complex metric designs
Grouping for long running passages
Master Class: Dorothy Taubman

Volume 7: Leaps
How to play leaps that don't miss
Legato leaps
Staccato leaps
Minimizing the distance of a leap
When both hands must leap at the same time
Repeated leaps
Master Class: Dorothy Taubman

Volume 8: Interdependence
Interdependence vs. Independence of the hands
Pitfalls of practicing the hands separately
Vertical learning and horizontal learning
Interdependence of Rotation, In & Out movements and Shaping
Alternating hands
Security in complex metric designs
Timing broken chords and ornaments
Playing legato in one hand and staccato in the other
Memorization:
-Different components involved in memorizing
-Causes for memory slips
-Explanation and instructions for security in memorizing

Volume 9: Fingering
What is a good fingering and why
Fingering to place you at the best advantage for fluent execution of passage
How to avoid fingering that causes stretching, twisting, or crowding
When and why to redistribute a passage between the two hands
Avoiding the pitfalls of some traditional dogmas
Master Class: Dorothy Taubman

Volume 10: Tone, Legato, and Enslavement to Notation
Uses and misuses of legato
Does physical legato always lead to musical legato?
how to make octaves, chords, and stretchy passages that cannot be physically connected sound connected
Role of shaping and pedaling in legato playing
Physical components of ton production
Interpreting the score to realize the composer's intention
How musical results depend on technical means
Master Class: Dorothy Taubman


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