Friday, 2 June 2017

Creating Piano Maestros With The Taubman Approach

By Charles Patterson


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.

According to the analysis by Dorothy, it was necessary for pianists to stop regarding themselves as plain instrumentalists. They were artists on the keys controlling and influencing crowds. The aim of this analysis was to enable ordinary pianists to understand their role and achieve full potential. It was impossible to realize this potential without recognizing your role in the ensemble.

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.

The analysis has produced some of the most life changing revelations. It was discovered that coordinate motions achieve accuracy with lease effort because the motions allow mid-range-response on the required fingers. This is a scenario that enhances kinesthetic judgment to enhance accuracy. Where motions are extreme, the tension of achieving accuracy enables the pianist to still manage.

Where movements are coordinated, each part of your finger acts to its best mechanical advantage. An example is where the forearm initiates motion because it is incapable of the speed produced by the large upper arm. Further, she concluded that to achieve freedom and precision, coordinate movements must be guided by the principle of maximum results with minimum effort. Breaking these rules and failure to obey these principles led to a painful and mundane playing experience.

Among the major outcomes of this analysis was the revelation of musculoskeletal disorders that affected pianists at the time. These disorders were attributed to poor playing skills. It was also revealed that recovery or relief was realized when a pianist understood and followed the rules. In fact, following the coordinated motions rules enabled pianists who were previously injured to achieve more prowess and skill mastery than before they experienced the injury.

In her revelation, a pianist finds relaxation after using the right motions. This does not hamper the ability of a player to resume since the right motions have already been ingrained. In her conclusion, it is correct diagnosis that solves technical problems other than extended practice. As such, students find challenges not because they are less talented but because they lack knowledge of the correct technique.




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