I [have] talked to many individuals who had incapacitating use injuries and had not received any benefit from consultations with neurologists, orthopedic surgeons, physical therapists and those dealing in alternative approaches such as acupuncture. It is remarkable how many of these individuals had crushingly disappointing experiences with medical and para-medical specialists of various types but were cured of their injuries once they were trained in the technique. In some cases the responses were very rapid. In others a prolonged period of time was needed. The underpinnings of the technique rest on remarkably simple but, to my mind, highly sound and rational applications of a thorough understanding of anatomy and neuromuscular physiology. Mrs. Taubman, with the remarkably able input of Edna Golandsky, has developed principles based on maximizing physiologically sound arm and hand position with a technical approach based on forearm rotation and arm movements that takes advantage of muscle tension. Any tension, even minimal, is incoordinate and causes fatigue which may progress to injury.
H. Franklin Bunn, MD
In December of 1996, my hands closed into fists as result of an injury called dystonia. Dystonia is considered by the medical profession to have no cure. At the time of the injury I was in my second year of… Read more “Barbara Banacos”
Karin Boisvert, MD
Attending the Golandsky Institute’s Summer Symposium, I discovered that a lot of people came because they were injured. I hadn’t realized that the Taubman approach could be used to cure playing-related injuries. As a doctor, this was very interesting to… Read more “Karin Boisvert, MD”
The movements are designed to put you in the optimum position for every note…you have more control over the sound of every note.
Edna Golandsky is a consummate expert of piano technique and musical artistry. The depth of her analytical ability surpasses anything I have encountered. Her work frees performers, enabling them to realize their full potential.
The Golandsky Institute is an important pedagogical institution not just for the thoroughness with which it deals with technical concerns at the piano but also for the emphasis it places on the music first.
I worked with Edna Golandsky for 10-15 minutes each day for two weeks. We started retraining from the beginning, dropping on one finger at a time, then learning the 5-finger pattern and finally starting the C major scale. For the… Read more “Maureen Volk”
I find more and more that the only way a performing musician can cope with this level of stress is to have a solid technique background that he/she can depend on consistently.
John Patrick Connolly, Jr.
I finished watching all of the Taubman videos today, and I continue to be utterly enthralled by the revolutionary body of knowledge they represent. The videos have been an invaluble asset in clarifying and enhancing my understanding of the Taubman… Read more “John Patrick Connolly, Jr.”
Cynthia A. Rose, R.N.
Though there is the need for supervision at the beginning of retraining, the skills Mr. [John] Bloomfield (Golandsky Institute teacher) teaches are relatively easy to learn and retain. In addition, this program is much less costly and time-consuming than the… Read more “Cynthia A. Rose, R.N.”
I am currently pursuing a PhD research degree on issues of piano technique. This will be materialised through comparative analysis of various methods that have dealt with piano technique with consideration of the laws of anatomy, physiology, physics and to… Read more “Christos Noulis”
H. Franklin Bunn, MD
I [have] talked to many individuals who had incapacitating use injuries and had not received any benefit from consultations with neurologists, orthopedic surgeons, physical therapists and those dealing in alternative approaches such as acupuncture. It is remarkable how many of… Read more “H. Franklin Bunn, MD”
The even tone that results when the forearm, hand, and fingers are connected allows for accents and idiomatic jazz articulations but frees me from the strong finger vs. weak finger problem…The physical freedom offered by the Taubman approach is the… Read more “Don Glanden”
Dearest Edna, I just finished watching the DVD where you gave a master class on the Chopin Ballade G Minor. I loved everything you showed us. I am trying to incorporate some of the same ideas in the A flat… Read more “Josie Gebhardt”
Before I studied with Edna Golandsky I had tremendous shoulder pain and my sound was weak. I felt that my technique had gone as far as it could go and that there was no hope for improvement. As a result… Read more “Thomas Bagwell”
Linette A. Popoff-Parks
Edna has taught me to play without fatigue, pain, and tension, but . . . with an ease and proficiency that is a delight to my hands and heart. I have also discovered my tone growing in strength and color.… Read more “Linette A. Popoff-Parks”
Leo Gorelkin, MD
Impressive results with the Taubman approach in relieving and preventing inuries and also facilitating greater accomplishment at the piano appears to me to be a gross understatement.
I was profoundly impressed by Edna Golandsky’s deep understanding of piano technique. She is the only person I have ever met who was actually able to explain to me what I was doing naturally at the keyboard.
The info is unrivaled…Yesterday, I went to an EPTA [European Piano Teachers Association] meeting…I took the Taubman Techniques videos and Choreography of the Hands, those piano teachers were astounded!!! Edna, you would have cracked up laughing inside, they couldn’t get… Read more “David Martin”
The clear and convicing physical truths about the Taubman approach presented in the 10 videos have all been confirmed in my experience at the keyboard – it feels so great to play the piano now.
By the time I was 19 I was ready to give up and burn the piano because of the ever increasing pain to me forearms and mental burden it brought on. All of the master classes I played at to… Read more “Angelo Campana”