The Golandshy Snstitate BEGINNING PIANO LESSONS. in the Taubman Approach BOOK | « Student E . Basic Alignment Written by Mary Moran Edited by Edna Golandsky Musical Compositions by Paula Dreyer & Kendall Feeney Photography by Mary Moran Production and Distribution The Golandsky Institute Park West Finance Station P.O Box 20726 New York, NY 10025 for Further Information: www.golandskyinstitute.org Copyright ©2008 by The Golandsky Institute All rights reserved WARNING: The music, text, design and graphics in this publication are protected by copyright law.Any duplication for any purpose is strictly prohibited by law unless written authorization is secured from the Golandsky Institute. Abuse of this copyright exclusion will result in legal action.w his book is intended for students beginning to play the piano as well as those intermediate and advanced students who need clarification about the beginning steps of the ‘Taubman Approach. ‘These beginning steps are essential for anyone trying to learn how to play the piano whether or not they have access to a ‘Taubman trained teacher. The book attempts to teach proper coordination, ease and correct movement, and it maximizes life-long learning habits of concentration, self-sufficiency and a general satisfaction in playing the piano. These are essential steps in preventing future limitations and injuries at the instrument. All steps and activities in this book should be done as shown with the right hand,and then with the left hand. When working with the left hand, the directions for rotation to the left or right will need to be reversed. ‘A unique feature of this book is the inclusion cof many photographs of piano students. The visual component of learning is very powerful and can substantially shorten the time it takes to learn the material in this book. This first book in the series is intended to simplify and break down the initial steps in teaching the Taubman Approach. It discusses some basic principles and positions as well as how to apply the rotational movements to the pieces in the book. The next books will further explain single and double rotations in five finger patterns and scales, how they are minimized and combined with other necessary movements, and how they are successfully applied to the teaching repertoire for elementary and intermediate students. This book is not intended to teach note- reading. It is intended to be used along with other piano books that teach note-reading, rhythm and all other skills necessary for learning how to play the instrument. ‘Any damper pedal indications in this book are optional. fa student's feet do not reach the floor, a pedal extender for the piano is recommended, This Student Edition is intended to be used for students when their teacher is using the Teacher Edition of this book. For more detailed and comprehensive information on the Taubman Approach, see the 10 Taubman Technique DVDs and attend the Golandsky Institute Summer Symposium at Princeton University and other Golandsky Institute events, Information about all of these opportunities is available at www.golandskyinstitute.org. Workshops on how to use this series can be scheduled in your area by contacting Mary Moran at Mary.Moran@golandskyinstitute.org. BE”THE GOLANDSKY INSTITUTE The Golandsky Institute was founded in 2003 by Edna Golandsky, john Bloomfield, Robert Durso and Mary Moran to bring high level training in the Taubman Approach to the musical community. This Approach offers musicians of all levels and proficiencies instruction in the skills that enable them to realize their highest potential + It teaches musicians how to overcome technical limitations and recover from injuries caused by incoordinate playing. BRETT Eee acca an Rae cae ented and research in the field of piano Pe esa ee) groundbreaking analysis of what eee ns producing a body of knowledge that can lead to an effortless and brilliant technique. It can also prevent and eres eat eRe Zi related injuries, Edna Golandsky is the person with REM ar anise Rates + It provides training for teachers in the diagnostic tools necessary to teach healthful skills to musicians of all levels. + It seeks to raise the awareness of the musical community and the public at large to the problems musicians face and the solutions available to them through educational programs, professional collaborations, continued research and multi-media productions. Dena eu art atypia Ms. Golandsky discusses each of Pe eae ee sie c aca sy eee Rha na consider her the leading authority Or ear Taurean) een oii Edna Golandsky’s lectures have Pee eiceh rt ara er feu ha ead see) Ts ics ee Os knowledge has deepened over the eet RA vs au Decar}TABLE OF CONTENTS _ CHAPTER _ Sitting at the Piano - page 6 ... Correct Natural Hand Position - page 9 -Playing Each Finger - page 12 Pieces - page 16 Forearm Rotation - page 23 Rotating to the Left - page 25 Rotating to the Right - poge 28 Single Rotation - page 30 Pieces with Single Rotation - page 34 Double Rotation from Left to Right - page 40 Double Rotation from Right to Left - page 43 ..Pieces with Single Rotation & One Double Rotation - page 46 13...... Repeated Notes - page 51 ..Pieces with Repeated Notes - page 54 ..Pieces with Single Rotation & More Than One Double Rotation - page 58 16 .....Conelusion - page 64MUSICAL INDEX Balance Tango sees page 17 New Moon ............ poge 18 Musings ....... 000006. poge 19 Stirrings - page 20 Stomping Grounds ...... page 21 Current ............... poge 22 ‘Trumpet Call... page 34 Bat Cave page 35 Pinecone Dance page 36 Meet in the Middle page 37 Waves ... page 38 Reflections page 39 Moonstar ............. page 46 Tune of Two Songbirds... page 47 Ocean Waves .......... page 48 Eagle's Flight. ........... page 49 Falling Stars ............ page 50 Crying Songbird ........ page 54 Sursier ceeeees page 55 Current ceeees page 56 Field of Obras .......... page 57 Balance Tango .......... page 58 Stirrings ............. 4. poge 59 Musings - page 60 Eagle's Flight sees s page 61 Marine Band . - page 62 March of the Penguins .... page 63HAPTER ‘| SITTING AT THE PIANO Playing the piano begins with proper seating at the instrument. There are several ‘components to consider in finding this position ~ HEIGHT OF THE SEAT The correct seat height places the bottom. part of your forearm and elbow on the same level as the surface of the white keys when they are not depressed. This height allows your fingers, hand, and forearm to act as a unit which is a basic requirement for the movements that constitute fluent playing. Another important point is that you should sit on the front half of the bench. You will be balanced on your sit bones with a sense of your weight being directed forward toward the instrument. PLACEMENT OF THE FEET The feet should be resting flat in order to properly balance the body at the keyboard. If your feet reach the floor, be sure they are resting flat and parallel to each other behind the pedals. They should not be extended straight out under the piano, or tucked under the bench. Legs should not be crossed. 2. If your feet cannot reach the floor when sitting at the correct bench height, use a footstool, carpet samples, books, rubber mats or any other flat surfaces to find the correct resting place for your feet. Your feet should not dangle.DISTANCE FROM THE KEYBOARD Place the bench at a distance where your hands and forearms are not reaching for the instrument, nor are they crowded by the instrument. Your elbows will be bent. aes a POSITION OF THE TORSO The torso needs to be in a position that allows your fingers, hands and forearms (the playing apparatus) to move freely in all directions at the keyboard. + The torso should not be held up in a rigid or stif position, * The torso should not slouch, It should not be too relaxed, collapsed or have a sense of limpness. POSITION OF THE SHOULDERS The shoulders are stable points which are not held up or relaxed down. Holding up and/or relaxing down would hinder the motion of the playing apparatus. All of these elements combine to give you the proper body alignment and balance needed to move freely at the piano. Be sure to consider all of these aspects since none will work properly alone.KAT ME Attach a picture of yourself sitting correctly at the piano in this space to help you remember how to sit correctly This will also help you to make the needed adjustments at home and feel balanced at the piano when practicing,2 CORRECT NATURAL HAND POSITION Your hand should be brought to the keyboard in its natural position. This is the same position as when it is hanging easily by your side. The fingers are neither stretched nor crowded, and there is no tension at all. HOW TO FIND IT: é Drop your hand to your side, allowing the forearm and hand to be free and fingers not stretched. Pick up the hand and see that the fingers are in a natural curve (not curled). 3 Put your hand on the keyboard. Notice how your hand may take up the space of only 3 or 4 white keys depending on its sizeA WARNING ABOUT STRETCHING FINGERS Many students tend to line up their fingers on 5 adjacent keys as in a 5 finger position. This stretchy position usually results in tension or fatigue which limits free and fast playing. This is the wrong way to put your hand on the keyboard. Your fingers are stretching to try to cover a five finger postion. A WARNING ABOUT CURLING FINGERS When your hand isin its natural position on the keyboard, the longer fingers (2, 3, and 4) will normally be in the black key area. These are pictures of the correct position of your fingers on the keyboard from above and from the side. 10‘Often the long fingers try to avoid the black key area by pulling into the white key area. Pulling the fingers in from the nail joint is called curling the fingers. See picture below. Curling fingers results in tension or fatigue. Pay special attention to the third finger which is the longest finger and tends to curl the most. This is the wrong hand position. Notice how the fingers are curling. KNUCKLES Fingers 2, 3, 4 and 5 each have three knuckles. All 3 knuckles should be in the same position as when your hand is at your side. See the picture on page 9. The thumb has two knuckles. WRISTS The wrists need to be at the height that will allow the hand and forearm to connect as a unit as in the picture below. 1153 PLAYING EACH FINGER It is often necessary to begin with exaggerated movements in order to find the correct feelings for playing each finger. As soon as possible your teacher will instruct you to make these movements smaller and closer to the keys while maintaining the same feelings of unity and freedom. PREPARATORY STEPS | Pick up your hand and forearm in one piece from the elbow (like a drawbridge). The finger, hand and forearm are moving up together from the elbow at the same time. The upper arm and shoulder DO NOT come up with the forearm. 2 Drop them freely into your lap. Be sure the hand and forearm drop together. REPEAT STEPS | AND 2 AND “FALL” INTO YOUR LAP. COMBINE THE LIFTING AND THE DROPPING INTO ONE CONTINUOUS MOTION WITHOUT STOPPING IN THE AIR AFTER LIFTING.DROPPING A FINGER INTO A KEY aia Pick up your hand and forearm in one piece as a unit. 2 Drop on finger 2 into a key. Be sure that your hand and forearm are unified and that the wrist has not dropped. 3 Look down at your hand to see the correct placement of all fingers. 4 Repeat the same steps several times.DROPPING ON OTHER FINGERS REPEAT THE SAME STEPS WITH FINGERS 3, 4 AND 5. FINGER 3: Be sure to feel that your hand and forearm lift and drop together. FINGER 4: When dropping on finger 4, be sure that 3 is not curling. FINGER 5: Notice that since finger 5 is on the side of the hand, it plays a little more on the right side of the tip than fingers 2, 3, and 4 do in order to feel equally strong.PLAYING THE INTERVAL OF A FIFTH When playing a harmonic fifth with fingers | and 5, the wrist needs to be at the height that allows the hand and the forearm to be unified and able to drop freely behind both fingers. This makes the fingers feel strong, solid, and equally balanced. REPEAT THE SAME STEPS TO PLAY A FIFTH: | Pick up your hand and 2 Drop in one piece to forearm in one piece as mes play a fifth. Sal ecole No ETA CR UENO) Al Wma ee irae Rea Pe i ey (OF FREEDOM AND UNITY. NOTICE THAT THE MOVEMENT BECOMES SMALLER AS YOU PICK UP AND DROP CLOSER TO THE KEYS.16 4 PIECES The following pages contain pieces which you can play by dropping on each note in the piece. This dropping will facilitate four necessary points: + the correct alignment of the finger, hand and forearm + moving as a unit + the freedom of this unit in dropping + the correct landing (balance) on the key It is very important that you consistently find the correct landing (balance) for standing on each finger and on a fifth before going on to the next chapter which deals with how to ‘connect from finger to finger (and from key to key). You need to know the “feel” of the balance on each finger and have the body awareness to find this balance readily. Using the damper pedal in any of the pieces in this book is optional. If your feet do not reach the floor, it is recommended that you use a pedal extender for the piano.BALANCE TANGO. Drop using right hand finger 3 on G and finger 2 on F. Balance Tango 4 Kendall Feeney 92 1 Teacher Duet: Student plays one octave higher. r te i rr Tr Be RH ony) oa ca a = 17NEW MOON Drop with right hand on notes with upward stems. Drop with left hand on notes with downward stems. Adjust the torso to the right and forward to drop on line 2. New Moon “= 108 Paula Dreyer hold pedal throughout (optional)MUSINGS Drop on each note with right hand, Musings Kendall Feeney 69 1g Teacher Duet: Student plays one octave higher.STIRRINGS Drop on each note with right hand. Drop on each note with ight hand. irri nD Stirrings Feeney = 120 Teacher Duet: Student plays one octave higher 20STOMPING GROUNDS Drop on each 5th and on each single note. Stomping Grounds Paula Dreyer 5 ‘optional 21‘CURRENT Drop on single notes and Sths. pedal throughout Current Paula Dreyer5 FOREARM ROTATION Forearm Rotation is the turning of the forearm from the fingertips to the elbow as one unit. + The turning of the forearm makes it possible for all of the fingers to be lifted together effortlessly. + It provides the movement across to the next key without having to stretch or pull + The forearm and hand also provide the weight and support which assist the finger in playing the next key. * Correctly done, rotation makes all the fingers feel equally strong, When forearm rotation functions naturally in a fluent technique, it generally cannot be seen. In order to learn how to rotate correctly, the motions must be somewhat exaggerated. Later on they will merge with other movements to become mere internal adjustments for the forearm. FIRST PREPARATORY STEP — HOW TO TURN THE HAND AND FOREARM IN FRONT OF THE BODY 2 Turn to the right | Pic up from the back oe of the forearm soeiaae all the way to the elbow. The in one piece. palm and the underneath side of the forearm should be facing the 3 Turn back to the left with the palm and the underneath side of the forearm facing the floor as in number |.SECOND PREPARATORY STEP — HOW TO ROTATE OVER THE KEYBOARD Turn to the right | Recta our sat 2 fauitiehed ot hand and forearsn, the forearm all the way in one piece over the — to the elbow.The palm be yhoarel Nour palaia and the underneath side of the forearm should be facing the wall on the left. face the keys. Turn back to the left facing the keys as in number I. DO THIS ROTATION AS FREQUENTLY AS YOU CAN IN ORDER TO DEVELOP FREE TURNING. BE SURE TO DO IT WITH BOTH FOREARMS.5 ROTATING TO THE LEFT | Pick up RH by turning your hand and forearm to the right from the back of the forearm (preparatory part of rotation). Play finger 2 by turning left and dropping 2 into the key (playing part of rotation). This incorporates the dropping from chapter 3. 3 Combine steps | and 2 into one continuous motion. To achieve the correct timing of the rotation, use the count “I” for the prep, and “2 - 3” for the playing into the key. PRACTICE ROTATING TO FINGER 2 FROM THE RIGHT SIDE 4 TIMES IN HALF NOTES. REMEMBER TO COUNT FOR THE CORRECT TIMING. TEMPO - QUARTER NOTE = 76. FOLLOW THE SAME PROCESS FOR FINGERS 3 AND 4. SEE PICTURES ON PAGE 14 FOR THE CORRECT TEASTTHE THUMB Since the right hand thumb is on the extreme left side of the hand, the rotation of the right hand thumb will always be to the left. The preparatory motion will come from the right. ] Turn your hand and forearm to the right from the back of the forearm (preparatory part of the rotation). Turn back to the left and drop into the key to play your thumb. This is the playing part of the rotation. 3 Now combine steps | and 2 into one continuous motion. Remember to achieve the correct timing of the rotation by using the count “I” for the prep, and “2-3” for the playing into the key. aici eo ya oer MED Rs ee ae Besa cenm Dla} eileen ce) elm cela ee) IT GOES DOWN INTO THE KEY. TEMPO - QUARTER NOTE = 76.ROTATION FOR A HARMONIC FIFTH Intervals, chords and octaves for the right hand will always take a rotation to the left (towards the thumb). Turn your right hand and forearm to the right (preparatory part of the rotation). Play a Sth by rotating to the left and dropping the arm equally behind both fingers. Continue playing Sths by rotating. Be sure to turn from the back of the forearm. Notice that finger 5 is farther “in” on the key than the thumb to avoid twisting the hand from the wrist joint. PRACTICE THIS BY ROTATING TO A FIFTH FROM THE RIGHT SIDE Pir = Mate eee eon ee Cuan eu mals THUMB AND THE 5TH FINGER. TEMPO - QUARTER NOTE = 76.eT ROTATING TO THE RIGHT Pick up RH by turning your hand and forearm to the left from the back of the forearm (preparatory part of rotation). Notice that there is a “give” in the elbow. This often happens in the preparatory movement at the beginning stages of learning rotation. As the prep becomes smaller, this “give” in the elbow is minimized so that it becomes invisible. 2 Play finger 2 by turning right and dropping 2 into the key (playing part of rotation). 3 Combine steps | and 2 into one continuous motion. Remember to use the count “I” for the prep, and “2. - 3” for the playing into the key in order to time the rotation correctly. PRACTICE ROTATING TO FINGER 2 FROM THE LEFT 4 TIMES IN HALF NOTES. FEEL THE FOREARM SUPPORT BEHIND FINGER 2 AS IT GOES DOWN INTO THE KEY. TEMPO - QUARTER NOTE = 76FINGERS 3 AND 4: FOLLOW THE SAME PROCESS FOR FINGERS 3 AND 4: Notice that fingers 2, 3 and 4 can rotate to the left or to the right depending on the context. FINGER 5 Since the right hand fifth finger is on the extreme right side of the hand, the rotation of the right hand fifth finger will always be to the right. Use the steps from page 28 for finger 5. bd WNeuilel a Cy Ware ea ome ese Ballot EACH IN HALF NOTES. FEEL THE FOREARM SUPPORT BEHIND EACH FINGER AS IT GOES DOWN INTO THE KEY. TEMPO - QUARTER NOTE = 76,8 SINGLE ROTATION The movement of the forearm to play two fingers in opposite directions to each other (such as in a trill) is called single rotation. Single rotations move from left to right, or from right to left. SINGLE ROTATION IN A 2-3 TRILL (WITH A PREPARATORY MOTION TO THE RIGHT) ] Turn your hand and forearm to the right as a preparatory motion for playing finger 2. Swing your arm to the left and drop into the key to play finger 2. Continue turning left as a preparatory motion for playing finger 3. The motion cannot stop as the forearm continues swinging to the left in preparation to playing finger 33 Swing the arm to the right and drop into the key to play finger 3. Without a stop, continue turning right as a preparatory motion for playing finger 2. The continuation of the arm slightly beyond playing finger 3 must be done smoothly. Swing the arm to the left in order to play finger 2. jout stopping continue turning left as a preparatory motion for playing finger 3. Repeat steps 3 and 4 to continue the trill. The playing will be connected. TRY SINGLE ROTATION TRILLS SIMILAR TO THE ABOVE TRILL USING DIFFERENT COMBINATIONS OF RIGHT HAND FINGERS SUCH AS. Ee ea Ree a ER Lee reds 1 AND 5. THESE SINGLE ROTATION GROUPS ALL BEGIN WITH A PREPARATORY MOTION TO THE RIGHT.SINGLE ROTATION IN A 3-2 TRILL (WITH A PREPARATORY MOTION TO THE LEFT) ] Turn to the left as a preparatory motion to play finger 3. 2 Play finger 3 by swinging the arm to the right and dropping into the key. Continue turning to the right to prepare finger 2. 3 Swing the arm to the left to play finger 2. Continue turning to the left to prepare finger 3. The playing will be connected.4 Play finger 3 by swinging the arm to the right and dropping into the key. Continue turning to the right to prepare finger 2. Repeat steps 3 and 4 to continue the trill. The playing will be connected. TRY THE SINGLE ROTATION TRILLS ABOVE USING DIFFERENT fr W ie rel gee Ra clue PCE ed CDCR AC DERE. GLEBE UP PAT Emel 5 AND 4. THESE SINGLE ROTATION GROUPS ALL BEGIN WITH A PREPARATORY MOTION TO THE LEFT. Note: While the movements of the single rotations continue uninterrupted, the playing of each finger should feel centered and solid. In any trill the rotation of the first note of the trill is in the opposite direction to the second note.PIECES WITH SINGLE ROTATION TRUMPET CALL Both hands will use single rotation to play this piece. The RH will always begin with a preparatory motion to the right for the single rotation to the left. The LH will always begin with a preparatory motion to the left for the single rotation to the right. Trumpet Call Kendall Feeney 34BAT CAVE Both hands will use single rotation to play this piece. Both hands begin with preparatory motions to the right for single rotations to the left. In measure 7 there is a change. The right hand begins with a preparatory motion to the left for a single rotation to the right. Bat Cave Kendall FeeneyPINECONE DANCE The RH plays with single rotations that are separated by the repeated C’s in the LH. Every time the RH begins to play again after the measure of rest, it will begin with a single rotation to the left. Pinecone Dance Kendall FeeneyMEET INTHE MIDDLE Both hands will begin each measure with a single rotation to the left, except for the right hand in measure 8. The right hand fifth finger always rotates to the right. Meet in the Middle Paula Dreyer a7‘WAVES. The RH has all single rotations separated by single notes in the LH. On lines | and 3, the RH begins with single rotation to the left. Adjust the torso to the right and forward as hands move up the keyboard. On lines 2 and 4, the RH begins with single rotation to the right. Adjust the torso to the left and back away from the keyboard as hands move back to the middle register. Waves Paula Dreger 2 fiijREFLECTIONS Lines | and 3 begin with a single rotation to the left in each hand. Adjust the torso to the right and a little bit forward as hands move up. Lines 2 and 4 begin with a single rotation to the right in each hand. Adjust the torso to the left and back as hands move down to the middle register. Reflections != 100 Paula Dreyer Hold pedal throughout (optional) at sige ae10 OUBLE ROTATION FROM LEFT TO RIGHT 6 Double rotation is used to play fingers that move in the same direction. (In a five finger pattern for the right hand, the rotations from finger 2 to 3, from 3 to 4, and from 4 to 5 are all double rotations from left to right.) Follow these directions: ] Drop on right hand finger 2. Turn your hand and forearm unit to the left. This is the preparatory part of the rotation and allows fingers 3,4 & 5 to lift freely. Notice that all of the remaining fingers move together to the left. Swing your forearm to the right and drop into the key to play finger 3. Feel the weight of the hand and forearm fall behind the third finger to give it support. This is the playing part of the rotation. You are connecting from finger 2 to finger 3. Be sure that the finger, hand and forearm land straight down, not tilted. 40