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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Agreed about the exaggeration for the audience. I would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by breithauupt.

I wish we would have heard more from Godowsky. Heidi Graff April 13, at 5: Breithaupt and Weight Technique Relaaaaaaaaxxxxxx Man. The improvement they found was playing with a relaxed arm and wrist, with arm movement from the elbow, although great pianists like Rubenstein were already doing this.

Chapter 16 Vive La France! Happy New Year !

AdminGlobal ModMod. I do believe in “relaxed weight”. So, maybe this is irrelevant to most of you. Clearly the brdithaupt “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 Ronald Taejin Weiqing ahuckleb boties louis.

Breothaupt Matthay made a lot of good points, such as not to squeeze the key harder after it is already depressed, and not to waste energy.

The problem they had was how to describe this to students. Possibly she didn’t care about the actual mechanisms involved. 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. That takes more effort than if some of the weight is supported by the fingers remaining on depressed keys.


Didn’t read the whole 1st post, but very glad to see that the very first reply talks about this.

Rudolf Maria Breithaupt

It 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. It’s funny how things that seem so obvious to us can be completely underneath the surface. Of course a lot of the time you can’t do that, but when the music allows, I find that it makes it easier, especially after a few hours of playing.

Help keep the forums up and running with a donationany amount is appreciated! The other reason being, of course, because Gerid wanted obviously wanted to point the logical fallacy finger. And both sides are right, except that they’re talking about different things, usually without realizing it. The effort required to do that is not constant. It makes me feel more comfortable and relax to play the piano. Breithaupt and Weight Technique Relaaaaaaaaxxxxxx Man.

Clearly the term “arm weight” is used here in a breithautp sense, which is unfortunate, because it might be helpful to be able to discuss it in the conventional literal sense. He also had a very popular piano method which influenced the technique of his day, and which provoked a rather vitriolic response from our esteemed author, Reginald R.

With such a foundation laid, one may go on building up the structure. Like other sport activities, relaxation plays an important role for athletes.

Breithaupt focuses a great deal on the movement of the whole arm dictating the movement of the fingers. Taejin April 14, at 5: Chapter 16 Chapter 16 Relax!

Natural piano-technic : preliminary to intermediate grade

Most Online 15, Mar 21st, Find more at www. Originally Posted by phantomFive School of Weight Touch, a Practical Preliminary School of Technic Teaching the Natural Manner of Playing by Utilizing the Weight of the Arm Any of the existing good Schools may be used in their practical part for the elementary grades, the easier works of Bach being selected for the intermediate grades.


This method is probably still useful I haven’t been able to figure out whether Levinskaya thought the movement was produced solely by weight, but she mentions ‘controlled’ weight, so probably not.

It emphasized on arm participation, weight and relaxation. This makes good since to me when we need to be a bit more ‘stiff’ we are but then we most relax after it. In Liszt’s older years a pianist turned up in his circle playing with a markedly better tone. Or by becoming a Subscribing member! While I think that parts of Breithaupt’s method have merit, I think that Gerig mostly included him in the book because he was popular, moreso than because he was particularly intelligent.

Push down even harder with the triceps, and the effort required goes up again. But I am pretty sure lots of famous pianists like Liszt before this school already played piano with arm participation and weight touch. Chapter 15 The French School Chapter But I can’t play in “good pose” like the chapter indicated.

History of Piano Pedagogy and Technique: Breithaupt:”Seriously people, relax!”

Our arms have breihaupt, which must be supported at all times. We must endure a little tension, and it is immediately after that tension that the relaxation comes in. Monday, April 12, Breithaupt: What Godowsky said on the nature of technique versus virtuosity is interesting to me.

If you play it correctly you can feel this, and the transfer of weight from one finger to the next as your hand rotates at the elbow, will result in a beautiful, even legato.