BREITHAUPT PIANO PDF

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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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. What I play is cocktail bar piano. In short I was playing with relaxed arm weight. Or by becoming a Subscribing member! In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition.

And both sides are right, except that they’re talking about different things, usually without realizing it. He seemed like a very smart guy, even if bfeithaupt of his compositions were ridculous. Clearly the term “arm weight” is used here in a special sense, which brsithaupt unfortunate, because it might be helpful to be able to discuss it in the conventional literal sense Time will do it for your some day The weight of the hand will keep the key down without more energy than is necessary being used.

Monday, April 12, Breithaupt and Greithaupt Technique.

Rudolf Breithaupt Natural piano-technic Die natürliche Klaviertechnik Etudes Exercises

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. School of Weight Touch, a Practical Preliminary School of Technic Teaching the Natural Manner of Playing by Utilizing the Weight of the Arm Brekthaupt 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.

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My wrist can’t hold that high when I play the piano. Forums 40 TopicsPosts 2, Members 91, Every day we are afforded a new chance. The answer they arrived at was weight. 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.

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Push down even harder with the triceps, and the effort required goes up again. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Our arms have weight, which must be supported at all times. She tried to teach each, and emphasized one or the other depending on what her students needed from The Levinskaya System of Pianoforte Technique piao Tone-Colour through Mental and Muscular Control p Possibly she didn’t care about the actual mechanisms involved.

That is another topic. In the historical piaho, many piano teachers of the late s notoriously the Stuttgart conservatory were teaching to hold the hand in a fixed position, ipano tightly at the wrist, to lift the fingers very high, to strike the keys with the the fingers. Relaxation is a wonderful thing, but jellyfish cannot play the piano. His writing was so difficult that later Ambrose Coveillo wrote a book to clarify called What Matthay Meantwhich is not altogether clear in itself.

Breithaupt, Rudolf

The question then is whether any of these people thought that weight was the only thing pushing down on the piano, or whether they were aware of the motion of the elbow. In this chapter, weight technique was advocated by Breithaupt’s school. 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.

But I can’t play in “good pose” like the chapter indicated. Unfortunately, before the end of 19 th century, very few of people really noticed this and most of them more focused brrithaupt fingering exercises. However, no one was able to explain the principle until this school appeared.

Rudolf Maria Breithaupt – Wikipedia

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. He described it as a problem of balance, balancing the arm weight with muscular control.

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Incidentally, the fallacy of referring to a single ‘school of weight’ becomes apparent when you read the huge arguments between the two foremost proponents, Breithaupt and Matthay.

To the point, did Matthay understand the involvement of the arm muscles when playing with ‘weight? The Best Books of Although Gerig deplores Breithaupt’s inability to notice the fallacies inherent in his writing, there is still something to be learned from this extremely relaxed, ‘weight’ technique.

To me, I think how to have a controlled relaxation is very important to pianist. If we look on technique as encompassing all aspects, including artistic, of good piano playing, then the term is not quite as upsetting as it is if we associate it more with scales and doubled thirds.

The English School Chapter You left out Deppe! Subscribe Piano World PianoSupplies. Actually, I am suffering from extrem back pain and arm pain nowadays because my recital is coming up and I worked too hard.

It not only helps us to create a good tone but also protects us from getting tired and hurt when we practice. Proper posture and hand position could make a totally different tone.

Taejin April 14, at 5: 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. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. 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.

Newer Post Older Post Home. Our aim is to do away with wrong ideas and to trace back to their real and natural sources the action of our playing members and the effect produced by them.