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 me. Many musicians’ injuries are caused by repetitive movements in uncomfortable positions. The traditional medical approach is to relieve the pain with painkillers, anti-inflammatory drugs, physiotherapy and rest. Often stopping the problematic movement is enough to take care of the pain. But you can’t tell a musician to stop playing without destroying his life. Some other approach must be found, to ensure that the musician can continue to play, but without the physical problem. I don’t know of any other approach that addresses the problem of pianists’ pain and injuries like the Taubman approach does. This is an approach that goes to the root of the matter: the problem movements that cause the injury. I have sent a lot of construction workers, and other laborers to occupational therapists to try to root out the problem movements when they do masonry work, for example. But until discovering the Taubman approach, I had never come across a physical therapist or occupational therapist for pianists. This work is a kind of physical therapy, because the focus is on correct alignment and healthy, coordinate movements that will not hurt you.
Karin Boisvert, MD
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 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 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.
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.”
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.
The movements are designed to put you in the optimum position for every note…you have more control over the sound of every note.
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”
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”
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”
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”
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.”
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.
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 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”
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.
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”
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”
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”
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”