A TAUBMAN’S APPROACH FOR PIANO PRACTICE: RACHMANINOV’S LIEBESFREUD

Abstract

The purpose of this research is to study the approach of Dorothy Taubman for piano practice. The study includes history and suitable methods for body form which lead to freedom and ease of movement in piano playing without pain, injury or limitations.The author chose Liebesfreud for this study. The piece requires strength to play loudly with full stretching of fingers. Liebesfreud is full of technics which are risky to injure the players without correct and suitable practice method. This research has studied the history of piano invention along with technics from past to present. The first piano technic was concentrated on finger work only which related to the light action in the early period of the development of the piano. The development of the new piano action resulted in more resistance in the keys and the heightened demands of complicated piano writing. The pianist had to deal with the heavier instrument with the growing obsession with technic that caused injuries. Taubman’s Approach discoveries about the pianist’s body movement including basic of sitting, hand alignment, in and out, walking hand and arm are complimentary technics that can work extremely well together. These various technics can create a facile and yet powerful piano technic. From the research data, the results of testing and evaluating the effectiveness of training found that muscles were moved more actively with less pain and not fatigue. The sound and tone were deeply powerful and well balance.