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dimanche 4 juin 2017

Info Post
By Charles Patterson


It is time to get playing the piano off the list of arts. This is after the emergence of proof that being a maestro is not necessarily a factor of increasing practice hours. The Taubman Approach has revealed that correct technique will always beat talent and offer greater reward including avoidance of musculoskeletal disorders. This erased the erroneous notion that trial and error was the approach used by maestros to achieve greatness.

Dorothy Taubman, a pedagogue based in Brooklyn sort to provide a solution to technical difficulties facing some of the best pianists in the world. She studied their system of playing over fifty years. She hoped to find a formula that these experts use to manage such an easy play even on the most difficult pieces. The results of her survey have helped amateur players to climb up the ladder and become world renowned pianists.

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.

In her assessment, Dorothy set to establish why children played with ease but it became painful for conscious adults to achieve similar graceful moves. She sort to identify the simple principles that were hidden in the complex motions. Her formula sort to establish the simplicity that underlies the complexity of excellent piano skills. In her assessment, the fingers are synchronized in motion such that each part performs at its best.

The discoveries made through this investigation changed the way people viewed and played the piano. A pivotal revelation was that accuracy in motion was achieved when fingers produced mid range response to motion through the least possible effort and as a result produced accuracy. It was tension at the challenging sections that pushed the player to be more accurate.

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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