Vujind Agreed about the exaggeration for the audience. I would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by breithauupt. I wish we would have heard more from Godowsky. The improvement they found was playing with a relaxed arm and wrist, with arm movement from the elbow, although great pianists like Rubenstein were already doing this. Chapter 16 Vive La France! Happy New Year!
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Vujind Agreed about the exaggeration for the audience. I would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by breithauupt. I wish we would have heard more from Godowsky.
The improvement they found was playing with a relaxed arm and wrist, with arm movement from the elbow, although great pianists like Rubenstein were already doing this. Chapter 16 Vive La France! Happy New Year! AdminGlobal ModMod. So, maybe this is irrelevant to most of you. Breothaupt Matthay made a lot of good points, such as not to squeeze the key harder after it is already depressed, and not to waste energy.
The problem they had was how to describe this to students. I find often that what I feel is enough voicing, or sufficient cadence, when playing to myself, is not nearly enough when I record myself and listen from the perspective of an audience member.
That takes more effort than if some of the weight is supported by the fingers remaining on depressed keys. Rudolf Maria Breithaupt It has always seemed to me that most discussions of these subjects, and especially most arguments on these subjects, are all messed up by the semantics. Help keep the forums up and running with a donationany amount is appreciated!
The other reason being, of course, because Gerid wanted obviously wanted to point the logical fallacy finger. The effort required to do that is not constant. It makes me feel more comfortable and relax to play the piano. Breithaupt and Weight Technique Relaaaaaaaaxxxxxx Man.
He also had a very popular piano method which influenced the technique of his day, and which provoked a rather vitriolic response from our esteemed author, Reginald R. With such a foundation laid, one may go on building up the structure. Like other sport activities, relaxation plays an important role for athletes. Breithaupt focuses a great deal on the movement of the whole arm dictating the movement of the fingers.
Taejin April 14, at 5: Chapter 16 Chapter 16 Relax! Natural piano-technic : preliminary to intermediate grade Most Online 15, Mar 21st, Find more at www. Originally Posted by phantomFive School of Weight Touch, a Practical Preliminary School of Technic Teaching the Natural Manner of Playing by Utilizing the Weight of the Arm Any of the existing good Schools may be used in their practical part for the elementary grades, the easier works of Bach being selected for the intermediate grades.
It emphasized on arm participation, weight and relaxation. Or by becoming a Subscribing member! Push down even harder with the triceps, and the effort required goes up again. But I am pretty sure lots of famous pianists like Liszt before this school already played piano with arm participation and weight touch.
We must endure a little tension, and it is immediately after that tension that the relaxation comes in. Monday, April 12, Breithaupt: What Godowsky said on the nature of technique versus virtuosity is interesting to me.
If you play it correctly you can feel this, and the transfer of weight from one finger to the next as your hand rotates at the elbow, will result in a beautiful, even legato.
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Die natürliche Klaviertechnik (Breithaupt, Rudolf Maria)
Early life[ edit ] Breithaupt was raised in Mississauga, Ontario, Canada then a western suburb of Toronto in a musical household. His father was a jazz piano enthusiast, and his mother was an accomplished classical soprano and choir director, so music was heard regularly in the home. His parents took him and his two younger brothers, who were also musically inclined, to concerts and bought them records. Breithaupt started taking piano lessons at a young age, but he discontinued the lessons at age eight. He took up the piano again at age twelve, at a time when Elton John , Billy Joel , and other piano-based pop artists were becoming radio staples. He played the drums in rock bands during his high school years, but never abandoned the piano. Songwriting became his strongest interest.
Vill New Topics — Multiple Forums. Our aim is to do away with wrong ideas and to trace back to their real breitnaupt natural sources the action of our playing members and the effect produced by them. The problem they had was how to describe this to students. The weight of the hand will keep the key down without more energy than is necessary being used. Breithaupt piamo Weight Technique Relaaaaaaaaxxxxxx Man. To me, I think how to have a controlled relaxation is very important to pianist.
Breithaupt Community Centre
Saturday, April 10, Breithaupt and Weight Technique "Stiffness seems to me the most reprehensible thing in piano plying, as well as the most common fault with all kinds of player. It is not helpful for us to play the piano at all. So, I usually try to relax my arm and shoulder consciously before the performance so that I could play the piano with relief. I think Breithaupt very emphasized about the relaxation of arm, wrist and shoulder as well as the finger and hand position. I really agree with her guidence. I think the hand and finger positions, and the relaxation of wrist, arm and shoulder are the most important elements to play the piano very comfortably, beautifully and stably. Actually, I am not well-trained about these piano techniques, so I have frequently faced with making the sound and octave or repeated notes eventhough I have played the piano about 23 years.