The Art of Rhythmic Expression

The Art of Rhythmic Expression
Recorded in 2004, Golandsky Institute Summer Symposium at Princeton University

This three-disc DVD set provides an in-depth perspective on rhythmic playing and highlights its role in artistic performance. Edna Golandsky builds on the fundamental principles of the Taubman Approach to show how the correct use of rhythm brings music to life and makes it more expressive. Enjoy the rhythmic aliveness of her demonstrations from Chopin’s Mazurka, Op. 17, No. 4 and Ballade in G minor, Op. 23; Mozart’s Sonata, K. 332; and Schubert’s Impromptus, Op. 90, Nos. 2 and 4.

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Questions of arpeggios and scale crossing : In and Out motions and torso position

Panama Jazz Festival: Workshops with Edna Golandsky and also Barbara Banacos, designed to solve technical and musical problems.

Edna Golandsky returns to the Panama Jazz Festival to give her much acclaimed classes that present strategies and solutions for long-simmering technical and musical problems.  This hands-on experience is targeted to jazz/classical pianists and other instrumentalists and is highly recommended!  Students, teachers, and performers of all levels and experience are welcome to attend!

 As a new addition, Edna’s morning workshop will be followed by Barbara Banacos in the afternoon, who is a certified teacher of the Taubman Approach and daughter of world-renowned jazz educator Charlie Banacos. Ms. Banacos will further explore technical challenges of improvisational patterns that are common in jazz practice.

 Edna Golandsky is co-founder and artistic director of The Golandsky Institute, the preeminent center of the Taubman Approach based in New York City. She has earned wide acclaim throughout the United States and abroad for her extraordinary ability to solve technical problems and for her penetrating musical insight. The Taubman Approach has proven to be highly effective in the resolution of technical limitations and playing-related injuries. It provides musicians with a foundation that allows for full artistic expression and the development of virtuosic technical ability. Performers and students from around the world come to study, coach, and consult with Ms. Golandsky. The Panama Jazz Festival is the official site of The Golandsky Institute in South America.


What are people saying about the Taubman Approach?

 “This education should be taught worldwide. It should be a part of every educational system from early on so pianists can develop to their utmost potential…It makes playing the piano so easy.” Danilo Perez, jazz pianist, Founder and Director of Panama Jazz Festival

“The Taubman technique leaves no stone unturned . For every detail of piano playing the Taubman  approach  brings the most logical and economical method  for safe and painless virtuosity.” Garry Dial, Manhattan School of Music

“Fue una experiencia maravillosa, que me cambió la vida. Gracias por enseñarnos cómo mejor nuestras técnicas en el piano y cómo aplicarlas a nuestras vidas.” Ginger Rivas, pianist

Instructional video with Edna Golandsky

Edna talks about the problems of tension and also relaxation, and how to play with the support of the hand and forearm.

Instructional video: Playing with forearm support

In this short video, Edna Golandsky helps a young pianist play with the forearm support, and to overcome collapses in the main bridge and other knuckles.

Instructional video with Edna Golandsky on separate hands playing.

I discuss separate hands playing, and also multi-tasking, at the Panama Jazz Festival.

Instructional Video: Edna works with young student at Panama Jazz Festival

In this short instructional clip, Edna works with a young student. Key aspects including how to play the thumb on a black key without twisting the hand away from the arm, and how to maintain the alignment of the finger, hand and arm without collapsing the wrist.

Instructional Videos: Edna works with a professional pianist at Panama Jazz Festival

In the first video, I work with a professional jazz pianist.  I address  problems caused by tension as well as its opposite,  relaxation. I also work on playing chords with the main bridge intact, without collapsing,  as well as leaps.

I continue my work from the previous day with a professional pianist at the Panama Jazz Festival, to help make “playing a pleasure”. In addition to the issues from Part 1, octaves are also discussed.

This is the final clip of me working with a professional pianist at the Panama Jazz Festival. In this video, we work together on playing jazz scales.

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