Breithaupt Piano – Download as Word Doc .doc /.docx), PDF File .pdf), Text File .txt) or read online. Notes on the Breithaupt school of thought in Piano. Rudolf Maria Breithaupt (* August in Braunschweig; † 2. April in Ballenstedt) war ein deutscher Komponist und Musikpädagoge (Klavier). English (Vol.2), John Bernhoff (fl–). Composer Time PeriodComp. Period, Early 20th century. Piece Style, Early 20th century. Instrumentation, piano .
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Originally Posted by Amy Fay. To feel as though the hand were so relaxed that it falls onto the keyboard. Breithaupt and Weight Technique Relaaaaaaaaxxxxxx Breiithaupt. Minimum effort happens when some of the weight is on the fingers, and some of it is pulled up by the biceps. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. If you play it correctly you can brwithaupt this, and the transfer of weight from one finger to the next as your hand rotates at the elbow, will result in a piqno, even legato.
We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. To what extent active pkano tension shall participate, depends upon the technical requirements and difficulties of the composition. Also, his exhortation to listen to oneself breithahpt to emphasize all musical ideas clearly, so the audience can understand them, is good.
Clearly the term “arm weight” is used here in a special sense, which is unfortunate, because it might be helpful to be able to discuss it in the conventional literal sense The question then is whether any of these people thought that weight was the only thing pushing down on the piano, or breuthaupt they were aware of the motion of the elbow. I would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by psycho-physiology.
According to the hand position, on pageI was breithautp trained by old methods in my childhood. If you stand with your arms relaxed and hanging at your sides, very little effort is required.
In short I was playing with relaxed arm weight. Taejin April 14, at 5: We must endure a little tension, and it is immediately after that tension that the relaxation comes in. The answer they arrived at was weight. Agreed about the exaggeration for the audience. Find more at www.
Relaxation is brekthaupt wonderful thing, but jellyfish cannot play the piano. My wrist can’t hold that high when I play the piano. To me, I think how to have a controlled relaxation is very important to pianist.
Natural piano-technic : preliminary to intermediate grade
Of course a lot of the time you can’t do that, but when the music allows, I oiano that it makes it easier, especially after a few hours of playing. The forearm can be supported entirely by the elbow and biceps if we hold our fingers just above the keys, but not touching them.
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What I play is cocktail bar piano. The other reason being, of course, because Gerid wanted obviously wanted to point the logical fallacy finger. Help keep the forums up and running with a donationany amount is appreciated!
He takes the piece, and while he plays it with the most wonderful fineness of conception, he cold-bloodedly dissects the mechanical elements of it, separates them and tells you how to use your hand so as to grasp them one after the other. Looking for beautiful books?
Chapter 16 Vive La France! I wish we would have heard more from Godowsky. I think I need to more relax my body, shoulder and arm when I practice.
History of Piano Pedagogy and Technique: Breithaupt and Weight Technique
Hold both arms out horizontal straight in front of you like a B-movie zombie, and in a few minutes the greater effort required will be clear. What has worked for me is to try to stay near that minimum effort of support point. Didn’t read the whole 1st post, but very glad to see that the very first reply talks about this. John referred to the problematic use of the word “weight. What does “the profile of a musician” look like, anyway? 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.
The same thing applies on a smaller scale to the forearms when we play the piano. This makes good since to me when we need to be a bit more ‘stiff’ we are but then we most relax after it. Push down even harder with the triceps, and the effort required breithzupt up again. This method is probably still useful I haven’t been able pino figure out whether Levinskaya thought the movement was produced solely by weight, but she mentions ‘controlled’ weight, so probably not.
Arm Weight and some short History – Piano World Piano & Digital Piano Forums
I think this is the first time, here or elsewhere, that I’ve seen the semantic issue noted so immediately. I’ll try my best, but please no flames if this is confusing.
Originally Posted by phantomFive. Newer Post Older Post Home. Pano 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.