The Taubman Approach: invisible motions beneath a virtuoso technique with Jarred Dunn

Jarred/Dominic,

I wondered whether there is much, if any overlap between the Taubman Approach and the teachings of Penelope Roskell?

Don Porter

What were Taubman’s thoughts about seat height, posture, bringing the hand-forearm unit to the keyboard and movements of the wrist? Did Taubman allow the wrist to swivel from side to side, or should the hand-forearm unit always stay aligned in more or less of a straight line like a tennis racket?
 

What is the role of the upper arm and upper arm muscles? My understanding is that the upper arm should never be used to initiate movement, but is this always the case? What were Dorothy Taubman’s thoughts about how to use the whole arm to minimise muscular imbalance/tension?  

There are many different approaches to playing piano without tension, Taubman being one of them. Most students do not have access to a Taubman teacher. Invariably, what happens with me is that I will dabble with what I know of the Taubman approach. I’ll play a scale using Taubman only to have my piano teacher correct me and show me what they consider a more efficient an effective technique. So how is a student who has no access to a Taubman teacher able to approach and use Taubman approaches?

Thank you, Jarred! Thank you, Dominic! Thank you to all who asked questions! It was a very enlightening class today!

One of the many things I enjoyed during Jarred's Livestream was his emphasis on independent thinking and trusting oneself to make the proper decisions regarding what works best physiologically/psychologically for each person. Bravo!

Jarred mentioned that no one has all the answers. True! Everything must be evaluated in light of one's own physiology and mental/spiritual/emotional approach to the music...the story one wants to tell.

Alignment issues were quite clear on this video. It was especially helpful to see it with the overhead camera. I have said it many times on Tonebase, and I'll say it again: I love the expert use of the camera angles to see exactly what the viewer needs to see to make the point clear.

I really enjoyed Jarred’s presentation! Practicing today I was thinking about the different alignment and movements he discussed - fun to check out and see if I am already naturally doing some of it, and where I could be a little easier on myself. His respect and admiration for Ms. Taubman’s work and teaching style was evident and inspiring. 

Thank you both for this interview/Q&A relating to Ms. Taubman's teaching.  Your interview was quite helpful with application and clarification of Taubman teaching principles.I hadn't played in many years, and when I tried to return to playing, I found it difficult to remember all of the technical training relating to the coordination of the physical with the music.. I ordered the Taubman Tapes and subscribed to the Golandsky Institute streaming services. One seriously helpful result is that my tone was very harsh. I didn't like the recorded sound of anything I played.  I thought it was my instrument and the age of the instrument. (50-year-old grand with original soundboard) Since working with incorporating the arm weight/rotation and movements within the the Taubman tapes, I learned my piano is NOT the problem. It's the player--my technique.  Jarred, you are right-on correct as to what a difference her approach to technical application makes from an ergonomic, tonal, and artistic control perspective. Thank you for including this segment in the ToneBase classes.

One correction:  Ms. Lister-Sink's program is based in Salem, North Carolina.  Thank you for making note of this.