Trills don't have to be so terrifying (ft. Robert Durso) 

8:12 seat height 8:43 rotation 10:09 minimizing 10:41 rotation and minimizing continued 12:09 Alberti bass

Robert.you are one of the most knoledgable educators we have in all tehcnical aspects related to the piano. But I appeal to you to expanad your formidable knowledge and make musicality your chief goal. As an example, in your your video on trills, you dash through the opening of the Pathetique all on one level of dynamic-mf. The largest problem apart from choreographic understand is being able to play the opening passage without making a crescendo. That complicates matters. So you need to give us further information. You can do this. The same for the finale of the Moonlight Sonata. Your virtuosity is astonishing, butinthe end the passages have to be piano. Please embrace this concept in your formidable workshops. Seymour BErnstein

title of the video: trills don’t have to be terrifying……. video is one hour long me: that is terrifying

Thank you Mr. Durso, for posting these videos, they have helped me more than I can say...

This is so great! I've always had nightmares about trills and tremelos this video has help immensely!

Bob is ma boy definitely a great teacher, hope he comes back soon god bless ol' miss Taubman and ma gurl Edna

Clear explanations. You are a great teacher Mr. Robert Durso! Thank you so much.

This lecture was amazing. Thank you so much!

This is the most useful piano lesson I've had since college. I will be practicing every example over the next few weeks;) I might post some videos of those sessions, but meh....maybe, maybe not;) I don't know if anyone wants to see that, lol.

This was so interesting. Thank you Mister Durso, thank you Tonebase! 👏👏

Como siempre, muy claros conceptos del Prof. Durso.

I have played the piano for 75 years and my roster of teachers is more impressive than my playing. And yet I really learned some things from this video. Excellent.

A very useful subject. I have always had the greatest fear with trills and Alberti bass of tensing up which of course leads to temporary paralysis. I too eventually came to the conclusion also that forearm rotation was needed to be mixed with finger movement and you can work yourself into it slowly as shown. Also playing trills with alternate not next door fingers helps. I usually release tension further at the beginning of the process by initially not even playing legato and maybe using the pedal in support. I start trills slowly not worrying about finger legato from a position about half an inch ABOVE the keyboard and sink down into it gradually into legato as I repeat them and speed up. To produce easy relaxed Alberti bass I do the same but in this case I just rock to and fro detached rotating only several times popping the thumb down when the thumb is automatic. If you can get this sufficiently relaxed you can play Alberti at double speed (to demisemiquavers 32nds or further) so it is no longer just connected with Mozartian style but can add further movement and depth of harmony even to simulated romantic music.

Bravo for proving that one can play with an entirely collapsed first joint of the finger and still manage!

I would trade time off my life for someone to examine how to apply the Taubman approach to the pedal harp. Managing the ring fingers and avoiding injury on the harp is so hard, and so many of the technique schools are as rigid as a Procrustean bed.

40:25 :) coming back to this

thank you so much

sorry to ask but what is a "notschlug" mentioned at 26:16. Thanks

1:17

42:00

15:27 38:00

*tonebase:* "Trills don't have to be so terrifying". *Brahms:* opens the score of 1st piano concerto mvt1 to bb. 111 & 116 and laughs!

1:00:40 for my self

The echo....

I haven't heard any Taubman people play well. Maybe they're free of aches and pains but do they play well? Not really. My prescription for trills is pretty simple. 1. Don't tense up. 2. (optional) you can play faster if you let the keys come up only 80%, the downside is it's less loud. 3. You really don't need to trill fast at top speed. Can you play a slow trill that sounds good. Most can't. Make your trills musical instead of just loud and fast. Since I'm here what's the best way to improve your technique? Always be relaxed. Practice pieces slightly below your technical ability and play them to a higher degree of perfection than you would otherwise.

How come there isn't one single really successful pianist talking about his positive experience with the Taubman approach? I have yet to hear a Taubman disciple play the piano really well on concert level. To me, this is just a scam of tricking people into buying into a guru-proven philosophy that doesn't have any fact-based research behind it. I mean, has anyone ever heard Dorothy Taubman play the piano on a truly professional level? There you go.

my god its such an unmusical and unatural approach to piano playing !