Ask a question and get an answer. Also, explaining double note trills.

If you have questions concerning the Taubman Technique you can now leave them in comments on this blog. Time may not allow me to answer all your questions but those  selected to be answered will be taped every few weeks and shown here. I’m looking forward to hearing from you.





About golandsky
Edna Golandsky is the leading exponent of the Taubman Approach. She has earned wide acclaim throughout the United States and abroad for her extraordinary ability to solve technical problems and for her penetrating musical insight. She received both her bachelor of music and master of music degrees from the Juilliard School, following which she continued her studies with Dorothy Taubman. Performers and students from around the world come to study, coach, and consult with Ms. Golandsky. A pedagogue of international renown, she has a long-established reputation for the expert diagnosis and treatment of problems such as fatigue, pain, and serious injuries, including carpal tunnel syndrome, tendonitis, focal dystonia, thoracic outlet syndrome, tennis and golfer’s elbow, and ganglia. She has been a featured speaker at many music medicine conferences. She is also an adjunct professor of piano at the City University of New York (CUNY). Ms. Golandsky has lectured and conducted master classes at some of the most prestigious music institutions in the United States, including the Eastman School of Music, Yale University, the Curtis Institute of Music, and Oberlin Conservatory. Internationally, she has given seminars in Canada, Holland, Israel, Korea, Panama, and Turkey. In 2001 she was a guest lecturer at the European Piano Teachers’ Association in Oxford, England, and in July 2003 she conducted a symposium in Lecce, Italy. In August 2010, she gave a master class and judged in a piano competition at the Chatauqua Festival. She was a guest presenter at the World Piano Pedagogy Conference in 2003 and 2009 and was engaged to return in October 2010. In 2011 she was a guest presenter at the Music Teachers National Association in Milwaukee, Wisconsin; the Piano Teachers Congress of New York; and the Music Teachers Association of California. She gave week-long workshops at the Panama Jazz Festival at 2009 and 2010 and will return in 2012. For the past three years, Ms. Golandsky and violinist Sophie Till have been working on a detailed application of the Taubman principles for string players. An instructional book about beginning lessons in the Taubman Approach for violinists is slated to come out in the future. Ms. Golandsky’s application of the work for computer users has resulted in Healthy Typing, an instructional DVD. Edna Golandsky is the person with whom Dorothy Taubman worked most closely. In 1976 Ms. Golandsky conceived the idea of establishing an Institute where people could come together during the summer and pursue an intensive investigation of the Taubman Approach. She encouraged Mrs. Taubman to establish the Taubman Institute, which they ran together as co-founders. Mrs. Taubman was executive director and Ms. Golandsky served as artistic director. Almost from the beginning, Mrs. Taubman entrusted Ms. Golandsky with the planning and programming of the annual summer session. She gave daily lectures on the Taubman Approach and later conducted master classes as well. As the face of the Taubman Approach, Ms. Golandsky discusses each of its elements in a ten-volume video series. Mrs. Taubman has written, “I consider her the leading authority on the Taubman Approach to instrumental playing.”

8 Responses to Ask a question and get an answer. Also, explaining double note trills.

  1. Marcus Harbaugh says:

    How do I play the first cadenza in Libestraume #3? Famous pianists play it SO FAST, and even with always rotating to the left and using in and out, etc., I can’t seem to get my double 3rds to even come close! Is there an element of incrementally getting faster over time, or should the precise proper movements unlock tremendous speed spontaneously, or maybe something else?….

    Also, recommended left handed fingering?

  2. Harrison Lavins says:

    Hi Ms. Golandsky!

    Greetings from Michigan! I’m a huge fan and believer in the power of the Taubman work that you teach, and greatly enjoy the videos that you record on technical problems at the piano.

    I was just wondering if you would be willing to discuss the technique behind the first few measures of the doppio movimento from Chopin’s op. 48 c minor nocturne. I have always found this portion of the piece to be very difficult, and somewhat unreliable in performance. It also can be uncomfortable to play as well (because I hold tension in either my shoulders or back I think), and I think the music suffers as a result. If you could discuss techniques for both hands that allows for controlled, comfortable playing of the accompaniment but still allows for the top melodic notes to sing out without tensing the upper arm or shoulders, I would be incredibly grateful!

    Again, I am a huge fan of your work and think that you are a wonderful and inspiring teacher. I hope you never doubt the influence and impact of your teaching, and hope that you can continue to change lives and reach more and more people through the transformative power of the Taubman methods.

    Thank you so much for offering your knowledge so generously!

  3. golandsky says:

    Please send me exact measure number.

  4. golandsky says:

    Please send me exact measure number.

  5. haillawei says:

    Dear Ms. Edna Golandsky, thank you for offering such opportunities. I am wondering if there’s any good way to introduce such approach to children, what would be the order to teach all of these concepts,(e.x.single rotation perhaps could start from finger 121,131,141,151, then 545,535,525,515???) because children are less interested in such type of things, how can I make it more fun or simply just stay a bit longer in the process so we can progress a bit faster?

  6. golandsky says:

    In a few weeks Mary Moran will address the issues with how to teach these concepts to the young in a blog. We will send an announcement about it.

  7. Martin MacCauley says:

    Dear Ms. Edna Golandsky, I am 59yo and have embarked on an odyssey to teach myself to play piano. I already carry quite painful repetition injuries from my occupation and had to leave the work force due to chronic pain in my right side from the bottom of my ear down to the fingertips of my right arm, my forearm, my right bicep and down to my hip, where it joins the body at the chest & shoulder blade. So I am trying to play piano already with great pain. I feel that the Taubman method is exactly what I need to get me on the right path to playing pain free. I live in Tasmania, Australia and if I was to employ a teacher I’m concerned that no-one may be teaching Taubman. Because piano is so new to me I’m a bit overwhelmed at what steps I need to take. I know I’m fostering bad technique just on the increased pain and have to rest up a lot so that messes up my practising routine. Thank you for all you do, it’s simply amazing!

  8. golandsky says:

    Hi, I’m student of mrs Golandsky, who’s in charge of this blog. I showed your comment to Mrs Golandsky and she would like to hear from you personally. Here is her email address and you can write her directly.

    Thank you so much for your interest and support.

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