Description
Harold Taylor draws on a combination of Alexander Technique and the teaching of pianist Raymond Thiberge to propound a piano method that is all about overall mental and physical coordination rather than analysing different elements of technique. Playing the piano, in this world, is not about the fingers, but about the whole body; it’s not about conquering the external obstacle of the piano, but about removing the internal obstacles with which we habitually distort or get in the way of ourselves.
Contents
Foreword by John Ogden
Preface
1. Towards a Definition of Talent
2. The Basis of Co-ordination
3. ‘Expansion’ versus ‘Contraction
4. The Researches of Raymond Thiberge
5. ‘Vous êtes bien assis?’
6. Co-ordination with the Keyboard
7. The Teaching of Raymond Thiberge
8. Freedom and Flexibility
9. The Thumb
10. Technical Notes on some Chopin Studies
11. Studying, Repertoire and Performance
Biographical Notes
Bibliography
About the Author
Harold Taylor graduated from the Royal Manchester College of Music (now the RNCM) and then studied in Paris under Thiberge and Alfred Cortot. He subsequently developed a career as pianist, lecturer-recitalist, writer and teacher, and as Head of Music at Bromsgrove College. His knowledge of pianism and pianists was encyclopaedic and he brought to his teaching both expertise and a sympathetic understanding.
Reviews
Harold Taylor … seeks to reconcile the teachings of F Matthias Alexander and Raymond Thiberge, and is a fine and precise study of the art of teaching and performing.
John Humphreys – International Piano
