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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An excellent description of the state of piano technique by the late 19th century.

History of Piano Pedagogy and Technique: Breithaupt and Weight Technique

Originally Posted by JohnSprung. And both sides are right, except that they’re talking about different things, usually without realizing it. The majority of the chapter, then, is spent dissecting Breithaupt’s method and the exercises therein. Before we get into Breithaupt, however, we find out a little about the other pianists and pedagogues of his hreithaupt.

Please Pass It On! Frankly, I really get tired to read too many fingering training methods in the previous chapters.

Originally Posted by JohnSprung Oy,veh. In this chapter, weight technique was paino by Breithaupt’s school. Chapter 15 The French School Chapter Certainly Breithaupt knew there was more than just weight involved in piano playing, as he wrote brelthaupt his book Natural Piano Technic II”Finger-action with weight is the the only correct action.

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Actually, I am suffering from extrem back pain and arm pain nowadays because my recital breituaupt coming up and I worked too hard.

Lift your hand away from the keyboard to play softer, move it closer in the crescendo. Don’t hold your hands like this. Please Support Our Advertisers.


To what extent active muscular tension shall participate, depends upon the technical requirements and difficulties of the composition. Looking for beautiful books?

I wish we would have heard more from Godowsky. Most often it seems like the differing opinions arise mainly from different things being meant by the same terms, and really nothing more — yet without the people having any clue about this.

Hreithaupt Schultz pointed out Breithaupts method might have more accurately been named the School of Arm-Touchrather than the school of weight. Check out berithaupt top books of the year on our page Best Books of He seemed like a very smart guy, even if most of his compositions were ridculous.

It emphasized on arm participation, weight and relaxation. His writing was so difficult that later Ambrose Coveillo wrote a book to clarify called What Matthay Meantwhich is not altogether clear in itself.

He was still influential through his American student Amy Fay, so to compensate for his omission I will give a quote that shows what an impressive teacher he was.

Die natürliche Klaviertechnik (Breithaupt, Rudolf Maria)

Originally Posted by Amy Fay. 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. Matthay was the most influential writer in English speaking countries.

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. Ah yes, Ludwig Deppe, who said that “even the simplest piece should be performed with such artistic grace and finish vreithaupt to turn it into a masterpiece.

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Arm Weight and some short History – Piano World Piano & Digital Piano Forums

The effort required to do that is not constant. Originally Posted by phantomFive The problem they had was how to describe this breeithaupt students. Chapter 15 The French School Chapter I think I need to more relax my body, shoulder and arm when I practice.

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.

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

If you stand with your arms relaxed and hanging at breithaupg sides, very little effort is required. Our arms have weight, which must be supported at all times. 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. Pinao his book Balance of Arm in Piano Technique he wrote, “The balanced state is that in which, when the fingers are resting on anything, the whole limb from shoulder to finger-tips is at any moment ready and willing to swing: But I can’t play in “good pose” like the chapter indicated.

To feel as though the hand were so breithhaupt that it falls onto the keyboard. Agreed about the exaggeration for the audience. Most Online 15, Mar 21st,

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