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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As far as weight, Amy Fay reported him emphasizing, “Your elbow must be lead and your wrist a feather ” Poetry is rhythm. What I play is cocktail bar piano. Originally Posted by phantomFive. Check out the top books of the year on our page Best Books of It makes me feel more comfortable and relax to play the piano. What does “the profile of a musician” look like, anyway?

Rudolf Maria Breithaupt

Push down even harder breithwupt the triceps, and the effort required goes up again. He was aware that some muscle tension was necessary, but because he constantly mentioned relaxation, some of his readers misunderstood that no tension was allowed. Happy New Year ! Also, his exhortation to listen to oneself and to emphasize all musical ideas clearly, so the audience can understand them, is good.

Arnold Schultz pointed out Breithaupts method might have more accurately been named the School of Arm-Touchrather than the school of weight. Breithaupt and Weight Technique Relaaaaaaaaxxxxxx Man. Poano by becoming a Subscribing member!

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

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. Moving to along Breithaupt himself, however. Possibly she didn’t care about the actual mechanisms involved. To me, I think how to have a controlled relaxation is very important to pianist.


But I am pretty sure lots of famous pianists like Liszt before this school already played piano with arm participation and weight touch.

The same thing applies on a smaller scale to the forearms when we play the piano. 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. She tried to teach each, and emphasized one or the other depending on what her students needed from The Levinskaya System of Pianoforte Technique and Tone-Colour through Mental and Muscular Control p Actually, I am suffering from extrem back pain and arm pain nowadays because my recital is coming up and I worked too hard.

I think I need to more relax my body, shoulder and arm when I practice. It emphasized on arm participation, weight and relaxation.

Breithaupt, Rudolf

Clearly the term “arm weight” is used here in a special sense, breituaupt is unfortunate, because it might be helpful to be able to discuss it in the conventional literal sense Relaxation is a wonderful thing, but jellyfish cannot play the piano.

According to the hand position, on pageI was totally trained by pinao methods in my childhood. Originally Posted by JohnSprung. I’ll try my best, but please no flames if this is confusing. Here’s some research I did about the idea of weight through history.

Yes, playing the breithauph is related with physical thing, so we have to protect our body as a pianist. Please Support Our Advertisers. Certainly Breithaupt knew there was more than just weight involved in piano playing, as he wrote in his book Natural Piano Technic II”Finger-action with weight is the the only correct action. Didn’t read the whole 1st post, but very glad to see that the very first reply talks about this.


He seemed breithauph a very smart guy, even if most of his compositions were ridculous. The improvement they found was playing with a relaxed arm and wrist, with arm movement from the elbow, hreithaupt great pianists like Rubenstein were already doing this.

Minimum effort happens when some of the weight is on the fingers, and some of it is pulled up by the biceps. We must endure a little tension, and it is immediately after that tension that the relaxation comes in. Of course a lot of the time you can’t do that, but when the music allows, I find that it makes breithapt easier, especially after a few hours of playing. In the end, what you run out of are days.

Like other sport activities, relaxation plays an important role for athletes. Matthay was the most influential writer in English speaking countries. My mind imagines the sculpted jawline of any one of those actors on the CW, except with finer lines, and perhaps a more prominent nose. What Godowsky said on the nature of technique versus virtuosity is interesting to me.

Proper posture and hand position could make a totally different tone. 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.

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.

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