Blog index

• Introduction to the Taubman approach – My personal story
• Masterclass from Chapel Hill : working with injured pianist.
• Short Lecture from Chapel Hill – How to move your body?
• Edna answers questions at the August 6 Golandsky Institute Online Workshop
• Golandsky Institute Online Workshop: Edna Golandsky answers questions
• The Art of Rhythmic Expression
• Q&A from Forum Musikae Madrid 2019
• Masterclass from Forum Musikae – Chopin Nocturne Op.9 No.1
• Masterclass Forum Musikae – The first lesson (Part 2)
• Masterclass Forum Musikae
• Masterclass Forum Musikae
• Tyler Fengya, Mozart K. 280
• A Public Lesson in London – Schubert Sonate D959 and Debussy L’isle joyeuse.
• Questions of arpeggios and scale crossing : In and Out motions and torso position
• A Public Lesson in London – Rachmaninoff Prelude Op.32-12
• Masterclass 2018 YAMAHA NYC – Lori Leu Part 1
• Masterclass 2018 YAMAHA NYC – Elham Fanous Part 2
• Masterclass 2018 YAMAHA NYC – Elham Fanous Part 1
• Masterclass 2018 YAMAHA NYC – Andrew King
• Q&A 11
• Q&A 10
• Q&A 9
• Q&A 8
• Q&A 7
• Q&A 6
• Q&A 4 and 5
• Q&A1, 2 and 3
• Ask a question and get an answer. Also, explaining double note trills.
• Edna Golandsky discusses Chopin Etude Op. 10 no 8
• Edna Golandsky discusses excerpts from Chopin Etude Op. 25 no 6 and Op. 25 no 1 (Skype lecture)
• Edna Golandsky decodes Chopin Op. 10 no 1 (Skype lecture from the Taubman Approach in Australia weekend workshop)
• Golandsky Institute Yamaha Spring Workshop 2016: Edna with Hugo Bermudez.
• Golandsky Institute Spring Teacher Training at Yamaha: Jin Jeon Bach Partita no 5
• Golandsky Institute Yamaha Spring Workshop 2016: Measuring the in and out Mozart K333
• Golandsky Institute Yamaha Spring Workshop 29 April 2016: Chopin Bb minor sonata
• Playing in slow passages: Brahms Op. 117 no 1, bonus Rachmaninov
• Chopin Op 25 no 5, middle section
• Chopin Etude Op 10 no 2
• Debussy: Jardins sous la Pluie
• Chopin Ballade no 2, from measure 47.
• Chopin Etude: Op. 25 no 6 (Brisbane Taubman workshop, Jan 15)
• Chopin Etude, Op. 10 no 9 (from Brisbane Taubman workshop, Jan 2015)
• Chopin Etude, Op. 25 no 10 (from the Brisbane weekend workshop, Jan 2015)
• Chopin Etude Op. 25 no 3 (from the Brisbane Taubman weekend workshop, Jan 2015)
• Chopin Etude Op. 25 no 5 (from the Brisbane Taubman weekend workshop, Jan 2015)
• Chopin Etude Op. 25 no 11 (from the Brisbane Taubman weekend workshop, Jan 2015)
• Chopin Etude Op. 25 no 12 (from the Brisbane Taubman weekend workshop, Jan 2015)
• Chopin Etude Op. 25 no 2 Left Hand
• How to solve isolating and stretching in the left hand.
• RH arpeggios in Beethoven Sonata Op. 27 no 2, 3rd movt
• Left hand arpeggios in Granados’ Epílogo, de Las Escenas Románticas
• Mendelssohn: Étude in Bb min, Op. 104 no 2, RH arpeggios
• Off the String III
• Taubman/Golandsky Approach: Clarifying left arm adjustments
• The Taubman / Golandsky Approach to Strings: Vibrato
• Double stops with the bow, repeated 3 note chords, repeated down bow chords
• Taubman/Golandsky Approach to Strings: How to move comfortably from a 1-3 third to a 2-4 third
• Taubman / Golandsky Approach to Strings: Off the String III
• Left arm basic playing position
• The Taubman / Golandsky Approach to Strings: How to avoid curling the left hand fingers
• Bow Fundamentals IV. Playing on Different Strings.
• Off the String II
• Off the String: Basic Principles
• Bow Fundamentals III: Bow Changes
• Bow Changes Subsiding
• Bow Fundamentals Part 2: Moving Left and Right (Down and Up Bow)
• Bow Fundamentals Part 1: Holding the Bow
• Introduction to the Taubman / Golandsky Approach to Strings with Sophie Till
• The Taubman / Golandsky Approach to Strings: Why would a violinist learn from a pianist?
• Panama Jazz Festival: Workshops with Edna Golandsky and also Barbara Banacos, designed to solve technical and musical problems.
• The Thumb
• Frequently asked questions
• Invitation to attend Princeton
• Double 3rds: Beethoven Op. 2 no 3 opening
• Double 3rds: Part 2 / 3
• Double 3rds: Part 1 / 3
• In memoriam: Dorothy Taubman
• Single rotations in Chopin études: “Winter Wind” and the “Black Key” etudes.
• Join me in Cambridge!
• Arpeggios Part 3: Chopin “Winter Wind” etude.
• Playing arpeggios Part 2: shown in Chopin Etude Op. 10 no 8
• Taubman Approach Symposium for piano and violin in Cambridge UK, this March!
• Playing arpeggios.
• Playing scales and the process of minimising
• Playing Alberti Basses
• Trills and broken octaves
• Documentary on Dorothy Taubman: Choreography of the Hands
• The Golandsky Institute Summer Symposium 10th year anniversary, coming up at Princeton University this July!
• Physical legato versus musical legato: Schumann piano concerto (2/2)
• Physical versus musical legato: Schumann piano concerto (1/2)
• Instructional videos: Edna Golandsky works with an injured pianist.
• Playing in slow tempi: Chopin C# minor Nocturne Part 4/4
• Playing in slow tempi: Chopin C# minor Nocturne 3/4
• Playing in slow passages: Chopin C# min Nocturne Part 2/4
• Playing in slow passages, demonstrated through Chopin Nocturne in C# minor, Part 1/4
• Slow playing: The opening of Beethoven’s Pathetique Sonata Part 2
• Slow playing: The opening of Beethoven’s Pathetique Sonata
• Broken octaves: Opening of Beethoven’s Pathetique sonata
• Excerpts from Beethoven’s Spring Sonata for violin and piano
• Playing fast repeated notes with ease: Scarlatti D minor Sonata Part 3
• Playing fast repeated notes with ease: Scarlatti sonata in D minor part 2
• Playing fast repeated notes with ease: Scarlatti d minor sonata Part 1
• Computer problem solving session
• Beethoven’s Waldstein sonata, 1st movement
• Instructional video: Edna works with a guitarist at the Panama Jazz Festival
• Instructional video with a drummer
• Instructional video: excerpt with a professional drummer
• Instructional video with a bass guitarist
• Enjoy New York concerts for low ticket prices
• Interview with Edna Golandsky in this edition of Clavier Companion!
• Instructional video: Edna works with double bass player at the Panama Jazz Festival
• Instructional video: Edna Golandsky works with professional guitarist at the Panama Jazz Festival
• Instructional video: Excerpt with a flutist
• The Golandsky Institute Summer Symposium featured in the New York Times!
• Review of Ilya Itin’s recital at the Golandsky Institute Summer Symposium and Piano Festival
• Instructional video with Edna Golandsky: Relationship of technique to craft of music making
• Why do some people find the Taubman Approach controversial?
• Instructional video on healthy computer use
• Instructional video with Edna Golandsky
• What is the role of the student in Taubman lessons?
• Instructional video: Playing with forearm support
• Instructional video with Edna Golandsky on separate hands playing.
• Why is it important to have lessons in the Taubman Approach, besides just watching the 10 DVDs?
• Instructional video on staccato playing
• Problem solving session with healthy typing and laptop use
• This year’s Golandsky Institute International Piano Festival
• Choreography of the Hands
• Read feedback from past Golandsky Institute Summer Symposium participants!
• Instructional video: Trills
• What can I gain from studying the Taubman Approach?
• Instructional video with a double bassist
• Why are some of the demonstrations in the 10 Taubman Technique DVDs exaggerated?
• Instructional Video: Edna works with young student at Panama Jazz Festival
• Instructional video excerpt on finale of Beethoven’s Moonlight sonata
• Fox News interview: Treatment for Dystonia in musicians
• Instructional Videos: Edna works with a professional pianist at Panama Jazz Festival
• Instructional video: Octaves without stretching
• Edna works with a saxophonist at the Golandsky Institute, Princeton University, 2010
• My new sessions at the Golandsky Institute Symposium at Princeton University July 7-15 2012
• Taking Taubman lessons via Skype – by guest writer, Therese Milanovic
• Photos from Panama Jazz Festival, 2012
• Finding accommodation in New York when you come for lessons.
• Solving computer-related issues.
• Are there any Golandsky Institute teachers in Europe or Asia?
• Practice facilities for pianists who come to NYC to take lessons.
• The unique benefits you can gain at The Golandsky Institute at Princeton University this July.
• How does the Taubman Approach compare to the Alexander Technique?
• Why are movements sometimes large at the beginning?
• How can a piano technique be translated to the violin or another instrument?
• What is the impact of combining whole-body disciplines with learning the Taubman Approach?
• Is it possible to play old repertoire again?
• How can I help myself in retraining?
• How often should I have lessons at the beginning?
• Is it true that retraining requires only playing the C major scale for two years?
• Is the Taubman Approach about relaxation?
• What are the common steps in learning the Taubman Approach?
• How long does it take?
• Why many people choose to study Taubman long-term.
• How long does it take to learn the Taubman Approach?
• How do I become a Golandsky Institute Taubman Instructor?
• Is the Taubman Approach only relevant for injured musicians?
• You are never too old to learn.