• Tone production and voicing chords in Brahms’ Op. 118 no.2

    Length: 3’34”

    Edna works with a pianist to bring attention to the melodic line through the use of forearm weight and bringing down the key slowly.

  • How to avoid stretching on Chopin Waltz Op.18 m.5-8 (rotation & shaping)
  • How to avoid stretching on Chopin Etude Op. 10 No.4 m.3 LH Broken Chord
  • When is it a twist and when is it not? Chopin Waltz Op.18 LH
  • Injuries/Taubman Approach

    Length: 2’47”

  • What are the resources on Taubman Approach

    Length: 3’45”

  • The Forgotten Lines
  • Introduction to the Taubman approach – My personal story
    • 4:05 – 6:18 Edna’s Story.
    • 6:40 – 13:30 What is the Taubman Approach?
    • 13:53 – 17:55 Edna’s Story (continuation)

  • Short Lecture from Chapel Hill – How to move your body? What is the leading part?
    • 00:00 – 1:56  What is the role of the body in piano playing? Body parts that move vs. Parts that are being moved.
    • 2:15 – 5:35 Why is the forearm the leading part in piano playing?
  • The Art of Rhythmic Expression

    The Art of Rhythmic Expression
    Recorded in 2004, Golandsky Institute Summer Symposium at Princeton University

    This three-disc DVD set provides an in-depth perspective on rhythmic playing and highlights its role in artistic performance. Edna Golandsky builds on the fundamental principles of the Taubman Approach to show how the correct use of rhythm brings music to life and makes it more expressive. Enjoy the rhythmic aliveness of her demonstrations from Chopin’s Mazurka, Op. 17, No. 4 and Ballade in G minor, Op. 23; Mozart’s Sonata, K. 332; and Schubert’s Impromptus, Op. 90, Nos. 2 and 4.

    Reviews of The Art of Rhythmic Expression videos:

    The Golandsky Institute has recently released a three-DVD set by the piano doyenne Edna Golandsky, documenting masterclasses at Princeton University in 2004. The Art of Rhythmic Expression continues where the previous collection of ten VMS from the Taubman Institute ended, with Golandsky showing both expertise and warmth in her practical demonstrations. The production quality is first class, allowing us to see and understand Golandsky’s particular approach to movement across the instrument, as the forearm controls nuanced hand movements, creating curvilinear shapes and phrases.

    The DVD collection includes discussion of anatomy and physiology in relation to playing the piano, and how to avoid injuries. Golandsky uses pieces from the classical repertoire to show that through shaping, tone production and the correct emphasis of beats, rhythmic vitality, flow and swing can be achieved. An accompanying booklet gives ample examples of the lectures. This set of DVDs is bound to deepen your understanding of the relationship between physical movement and rhythmic phrasing. Highly recommended.

    Martin, David. “Piano Professional.” EPTA Magazine, April 2006: p. 32.

    “At the beginning, there was rhythm”-Edna Golandsky

    This set of three DVDs takes a serious look at rhythm and pulse as the underpinning for musical expression.

    The Golandsky Institute was formed in 2003. In 2004, the Institute held its first Summer Symposium at Princeton University. These DVDs were recorded during the symposium before a live audience.

    The first DVD starts with a lecture about rhythm and pulse. Although this part is somewhat interesting, the fun really begins with the careful and painstaking dissection of selected works, with explanations on the use of pulse and rhythm to enhance performance and better comprehend selected repertoire.

    Edna Golandsky stays true to her mission throughout the series, carefully teaching the rhythmic underpinnings of Chopin’s Mazurka, Op. 17, No.4; Schubert’s Impromptu in A-flat, Op. 90, No.4; Schubert’s Impromptu in E-flat, Op. 90, No. 2; and Chopin’s Ballade, Op. 23.

    Golandsky also stays faithful when discussing rhythm throughout the DVD series. Peripherally, she says music is about motion (rhythm), and to control motion you need to control the sound. She mentions other tapes that focus on technique and musicality.

    The pieces presented came came alive to me in a whole new way through Golandsky’s explanations. The concepts presented can easily be transferred to other music. Most importantly, Golandsky based her ideas on the music, not on the “this is the way I do it, you should do it the same way” approach.

    These DVDs are meant for the knowledgeable, mature piano student or teacher. Since these DVDs are the product of a live “performance,” there are obvious flaws in production. Sometimes it is difficult to hear what Golandsky is saying and there is an occasional background buzz in the recording. Closed captioning would have helped, so one could pay more attention to the music and less time on figuring out what is being said. I would also have preferred a more complete accompanying booklet. Not only were there misspellings, but I had to go online to find out if there were more series besides the “Discovery Series.” The DVDs are not indexed, which makes finding specific sections difficult and on the third DVD, I had trouble getting the first of the two volumes to play.

    This said, these DVDs will become standard viewing for my graduate piano pedagogy classes, which will appreciate tangible ways for making a performance sound, as Golandsky puts it, “talented.”

    Corda, Michelle. American Music Teacher, April/May 2006.

    The Art of Rhythmic Expression is a three-D.V.D. set that features the inspired teaching of Edna Golandsky, a New York teacher and pianist who co-founded the Taubman Institute and was its artistic director for 26 years. In 2003 she and several others founded the Golandsky Institute to further the Taubman approach to piano technique.

    Each D.V.D. begins with a short lecture, followed by demonstrations in which Golandsky illustrates her points playing excerpts from the standard repertoire, including Chopin, Schubert impromptus, and Mozart Sonata in F Major, K. 332. She also presents a masterclass on the Schubert Sonata in A Minor, Op. 143.

    Golandsky says the foundation of artistic playing is the pulse, likening it to the human heartbeat; she discusses the characteristic differences between beats of the bar and how they shape musical phrases. Rhythmic expression, she says, depends on a pianist’s technique and understanding of sound production and shaping. In most of the presentation Golandsky plays short excerpts and analyzes the components that make the music come alive. The idea that all musical aspects are interconnected recurs throughout the D.V.D.s.

    Golandsky often repeats phrases using incorrect movements that contribute to making rhythm static and lifeless. The screen shows four camera angles with views of the keyboard and hands from above and each side as well as a view of Golandsky from the audience. We found this helpful for seeing a three-dimensional view of her movements. The demonstrations are liberally filled with nuggets of wisdom, such as “Music timing goes beyond counting; counting is only the beginning” and “What we try to express has to go through the body.”

    We liked Golandsky’s choice of repertoire, although it would have been useful to hear her thoughts on rhythmic expression from other style periods. Perhaps that will be forthcoming in the future. Some of the video editing is abrupt and occasionally startling, but does not detract from the quality of her message.

    The Art of Rhythmic Expression is an informative and inspiring tool, presented in a convincing manner by an excellent teacher. It forced us to reexamine one of the most fundamental and often neglected aspects of artistic expression, the beat. We highly recommend it for teachers of all levels as well as advanced students.

    Hiarry, Susan and Jancewicz, Peter. Clavier Magazine, May/June 2006: p. 43.

    The Art of Rhythmic Expression is a three-DVD set featuring lectures given by Edna Golandsky at Princeton University in the summer of 2004. The lectures represent the next chapter in the presentation of the Taubman approach to piano performance. In a previously released 10-volume video set from the Taubman Institute, Golandsky presented the foundational principles of the Taubman approach and showed how well suited the recorded video medium is to the communication of principles that form a physiologically optimal technique.

    The superb technical production quality of The Art of Rhythmic Expression has greatly enhanced the effectiveness of the presentation and sets a high standard for visual clarity in an instructional video. Demonstrations at the piano are filmed from multiple camera angles, sometimes allowing the viewer to watch in split screen format from four different perspectives: right, left, above and close-up. Nuanced movement as the forearm moves the hand forward and slightly higher, creating the curvilinear shaping of phrases, is captured by the cameras, giving the viewer the best possible opportunity to observe each motion and to hear the musical result.

    Professional jazz pianists and educators may be particularly interested in the focus on rhythm in the Golandsky lectures. In the hierarchy of important musical elements of a jazz performance, musicians routinely place “feel” at the top. The highest level of musical experience can occur when the music feels great, swings hard, has a deep groove, is heavily in the pocket, cooks or burns. The rhythmic complexity of jazz, with its endless subdivisions of the beat, polyrhythms, shifting accents, and dynamic nuance, makes rhythmic “feel” perhaps the most difficult aspect of the idiom to teach. The approach most often used is to have the student engage in saturation listening to develop an understanding of jazz rhythm through osmosis. This is an indispensable part of the process because it forms the concept and rhythmic intent of the improvising musician. However, it doesn’t address the issue of translating the intent into a musical result at the keyboard.

    This is precisely the issue addressed by Golandsky. Indeed, the great accomplishment of the Taubman approach in general is the realization of musical intent through the most efficient physical motions. Using pieces from the classical repertoire, Golandsky demonstrates how rhythmic vitality, flow and swing can be achieved through shaping, tone production and the emphasis of beats, revealing how physical movements relate to the rhythmic construction of each phrase. The application of this information for jazz pianists seems evident. When transcribing a great jazz solo, musicians are often confronted with the difficulty of notating a melodic line. Note placement may range from on top of the beat to “laid back” (behind the beat), with ghosted notes and shifting accents in unpredictable places. This all adds to the momentum of the music and offers technical challenges for the pianist. The Art of Rhythmic Expression provides a greater understanding of how to use the playing mechanism (fingers, hands, and forearms) to more easily execute the rhythmic language of jazz, and to enliven the rhythmic foundation of piano playing in any idiom.

    The Golandsky Institute has contributed an important and innovative work with the release of this three disc set. Edna Golandsky gives a fresh perspective on the development of rhythmic piano performance and continues to explore a new paradigm in piano pedagogy. Not to be overlooked is the enjoyment of hearing Golandsky perform extended excerpts from the musical examples provided with the DVDs. Her pianism is extraordinary…and she swings!

    Glandon, Don. “Edna Golandsky: The Art of Rhythmic Expression.” All About Jazz, http://www.allaboutjazz.com/php/article_print.php?id=35321. January 26, 2010 at 4:11pm.

  • Measuring the In and Out in Mozart Sonata K. 333
    • 1:36 – 10:28 Measures 1-4.
    • 10:29 – 11:40 Playing the B-flat Major scale.
    • 11:41 – 12:15 Measure 6.
    • 14:44 – 19:12 End of measure 11. Coming out as a unit from a short finger on a black key to a longer finger on a white key.
    • 19:45 – 22:28 Measure 12. Combining Shaping and In and Out on single rotations.
    • 26:29 – 29:52 Measure 18 and 20.
    • 30:11 – 32:25 Measure 60
  • Playing Slow Passages Brahms Op 117 no 1 + Bonus Rachmaninoff Example
    • 00:34 – 7:38 Brahms Op. 117 no. 1. Making a legato effect through tone production and Shaping (enslavement to notation).
    • 7:39 – 8:54 Brahms Op. 117 no. 1, measure 7. How motion affects the musical result (tone production, shaping).
    • 8:55 – 12:20 Brahms Op. 117 no. 1, measure 21, Right Hand. Leaps, playing from a single note to an interval, grouping.
    • 12:21 – 14:50 Brahms Op. 117 no. 1, measure 21, Left Hand. Leaps, soft playing.
    • 15:19 – 19:21 Brahms Op. 117 no. 1, measure 38. Making a melody that is divided between the hands sound like one melody.
    • 19:23 – 22:02 Brahms Op. 117 no. 1, measure 38. Interdependence of the Hands, cueing.
    • 22:03 – 23:55 Rachmaninoff Op. 32 no. 10. Fast motion during slow playing
  • Chopin Op 25 No. 5
    • 0:21 – 3:25 Rotating from single notes to intervals in Chopin Etude Op. 25 No. 5 (Middle section).
    • 3:36 – 5:51 In and Out motion in Chopin Etude Op. 25 No. 5 (Middle section).
    • 5:52 – 7:10 Shaping in Chopin Etude Op. 25 No. 5 (Middle section).
    • 7:11 – 8:09 Thinking the Closest Note in Chopin Etude Op. 25 No. 5 (Middle section).
    • 8:12 – 9:32 Grouping in Chopin Etude Op. 25 No. 5 (Middle section).
    • 9:34 – 13:33 Rhythmic Expression in Chopin Etude Op. 25 No. 5 (Middle section)
  • Chopin Etude Op. 10 No. 2: Avoiding Twisting through Proper Rotation and Shaping in the opening

    Length: 6’44”

    Chopin’s etude Op. 10 no.2 is known for its the use of the notorious “weak” outer fingers. Edna explains how to feel grounded in the keys and prevent any twisting of the alignment through single and double rotations.

    • 00:00 – 4:24 Eliminating Twisting and Applying Single and Double Rotation in Chopin Etude Op. 10 No. 2.
    • 4:25 – 5:52 Grouping and Shaping in Chopin Etude Op. 10 No. 2
    • 5:53 – 6:45 Left hand Leaps in Chopin Etude Op. 10 No. 2
  • Playing more Efficiently in excerpts from Debussy’s Jardins Sous La Pluie

    Length: 14’22”

    Debussy’s Jardins Sous La Pluie is piece of music filled with many technical barriers that can be understood through proper Taubman movements and concepts. Edna goes through various excerpts from this work and shows how one can alleviate the difficulties on the page.

    • 0:00 – 3:40 Redistribution
    • 3:40 – 5:40 Repeating notes/Leaps
    • 5:40 – 6:50 Understanding notation
    • 6:50 – 8:06 Redistribution
    • 8:06 – 10:51 Leaps
    • 10:51 – 12:13 Torso Movement
    • 12:13 – 13:18 Redistribution
    • 13:18 – 14:22 Addendum
  • Chopin Ballade No. 2: Examining and Solving difficult passages

    Length: 16’24”

    Many people bring the Presto con fuoco section from the 2nd Ballade with questions on how to play with more ease. Edna looks at various passages and explains the multiple aspects that go into moving more naturally and efficiently.

    • 0:00 – 1:30 Rotating to the left for RH intervals
    • 1:30 – 3:47 Moving Out in white keys
    • 3:47 – 6:20 Shaping to ease movement
    • 6:20 – 8:00 Torso Mvmt/Grouping
    • 8:00 – 8:30 Moving into the Black Keys
    • 8:30 – 11:20 Rotating to the left for RH
    • 11:20 – 12:05 In and Out/Grouping in 2
    • 12:05 – 12:52 Efficient Leaps
    • 12:52 – 13:50 Single and Double Rotations
    • 14:10 – 16:24 Octaves/LH
  • All about the Thumb
    • 00:13 – 3:21 Where does the thumb move from, how does it move and what is its shape? (knuckles)
    • 3:23 – 5:28 When we play other fingers, what does the thumb do?
    • 5:30 – 6:51 Coordinating finger motion without isolation.
  • Double Thirds: Part 1 of 3

    Length: 10’38”

    Double thirds are challenging for many, but with an understanding of what goes behind the technique, one can play with much more ease. Edna goes through double thirds going up and down the keyboard and finishes with an excerpt from the E flat Major Sonata.

    • 0:00 – 3:30 Rotating to the left
    • 3:30 – 4:48 Crossing over
    • 4:48 – 6:10 In and out
    • 6:10 – 8:00 Going up
    • 8:00 – 9:12 In/Out and shaping
    • 9:12 – 10:38 Haydn E flat Major Sonata
  • Single rotations in Chopin Etudes: “Winter Wind” and the “Black Key” etudes.

    Length: 5’18”

    In these well-known etudes, the use of proper single rotations will allow one to play more efficiently than any isolated movements. Edna demonstrates this and applies the same concept to both etudes.

    • 00:00 – 3:19 Single Rotation, shaping and Torso adjustment in Chopin Etude Op. 25 No.11
    • 3:20 – 5:18 Single Rotation, In and Out and shaping in Chopin Etude Op. 10 No. 5
  • Chopin Etude Op. 25 No.11: Using the Proper Choreography to play the Arpeggios


    Edna displays the multiple aspects that goes into playing these arpeggios and demonstrates the proper rotations, in/out movements, and more. She also briefly addresses the small leap at the end of this passage.

    • 00:00 – 2:07 Rotation (1st line of arpeggios).
    • 2:08 – 4:22 In and Out and Shaping (1st line of arpeggios).
    • 4:23 – 6:40 Rotation, In and Out, Shaping and Leaps (2nd line of arpeggios)
  • Chopin’s Etude Op. 10 No. 8: Rotating with the proper In and Out

    Length: 4’00”

    Edna takes a look at the opening of the Op. 10 No. 8 etude and demonstrated how moving in and out with the right finger will facilitate the arpeggios. The proper single and double rotations will make this passage much more natural when ultimately minimized.

  • Using the Taubman Method to play arpeggios comfortably

    Length: 11:10

    Arpeggios are one of the fundamental aspects of technique in piano playing as they are constantly seen in classical literature. Edna uncovers the way one can play arpeggios with confidence and offers an example from an excerpt from Op. 31 No. 2

    • 0:00 – 4:00 Rotation
    • 4:00 – 4:50 Minimizing
    • 4:50 – 5:35 Moving In/Out
    • 5:35 – 7:05 Shaping
    • 7:05 – 11:10 Beethoven’s Op.31 No. 2
  • Rotation, playing Scales with the Taubman Approach and the process of minimizing

    Length: 14’24”

    One of the first things a pianist learns when adopting the Taubman method is how to play scales naturally. Edna goes through the multiple aspects of playing the C Major scale using Mozart’s K.545.

    • 0:00 – 3:00 Rotating as a unit
    • 3:00 – 6:00 Mozart’s K.545
    • 6:00 – 9:00 Shaping
    • 9:00 – 12:00 Minimizing
    • 12:00 – 13:55 Rotation in slower passage
    • 13:55 – 14:24 Demonstration
  • Playing Alberti Basses

    00:00 – 3:07 Single Rotation and Shaping

  • Trills and broken octaves
    • 00:00 – 3:40 Single Rotation in trills.
    • 3:41 – 5:17 Single Rotation in broken octaves + forearm Positioning between the two notes.
  • Schumann piano concerto: Physical legato versus musical legato (Part 2)

    Length: 2’20”

    • One hand triggers the other hand
    • How to leap securely
  • Schumann piano concerto: Physical legato versus musical legato (Part 1)

    Length: 3’21”

  • Stretching

    Working with an injured pianist (English &Spanish)

    Length: 5’24”

  • LH shaping in Chopin’s C# minor Nocturne

    Edna Golandsky shows the difference in sound when applying shaping to ones playing compared to one without.

  • RH shaping in Chopin’s C# minor Nocturne

    Length: 4’01”

    Edna Golandsky displays shaping in RH melodic material while giving examples of breaking one’s alignment through use of an excessively high or low wrist.

  • Expressive playing in slower moving passages: Chopin’s C# minor Nocturne

    Edna Golandsky plays a short excerpt from Chopin’s C# minor Nocturne to demonstrate how one properly moves in a slower moving passage.

  • Efficient movements in the opening of Beethoven’s Pathetique Sonata

    Length: 11’40”

    Edna explains the most efficient movements to play the opening of the Pathetique sonata with a singing quality through proper shaping as well as making sure not to stay in the keys longer than necessary.

  • Expressive playing in slow passages: Beethoven’s Pathetique Sonata

    Length: 1’17”

    Edna plays a short excerpt from the opening of the Pathetique sonata to demonstrate how one moves during a slower passage.

  • Playing comfortable broken octaves while avoiding fatigue: Beethoven’s Pathetique Sonata

    Length: 4’54”

    Incorrect broken octaves can lead to fatigue and injury through isolation of the fingers. Edna explains how one can play without stretching and isolating through synchronized movements using an excerpt from the Pathetique sonata.

  • Staccato playing with shaping and phrasing in Beethoven’s Spring Sonata for violin and piano

    Length: 3’01”

    How short should staccato playing be? Edna demonstrates how to play and shape shorter notes without interrupting the musical line.

  • Playing quick repeated notes with ease in Ravel’s Alborada del Gracioso

    Length: 0’57”

    Edna briefly applies rotation and shaping in repeated notes using the famous passage from Alborada del Gracioso

  • Playing quick repeated notes efficiently in Scarlatti’s Sonata in D minor

    Length: 4’10”

    Edna demonstrates playing repeated notes with rotation and moving to other keys with single rotation. She also discusses how to play the broken chords in the LH in synchrony with the RH.

  • Moving In and Out to play repeated notes in Scarlatti’s D minor Sonata

    Length: 3’15”

    Moving in and out correctly allows one to play repeated notes with a greater ease. Edna demonstrates this along with using single and double rotations in Scarlatti’s D minor Sonata.

  • Common issues and questions in the opening of Beethoven’s Waldstein Sonata

    Length: 13’47”

    Edna goes through various aspects of playing with the most natural movements in the opening of the Waldstein Sonata. These topics include leaps, shaping, torso movement, in/out and more.

    • 0:00 – 0:13 Demonstration
    • 0:13 – 3:24 Shaping
    • 3:24 – 5:38 Leaps
    • 5:38 – 6:34 Torso movement
    • 6:34 – 8:00 Soft Playing
    • 8:00 – 9:20 Shaping
    • 9:20 – 10:44 Rotation in trill-like figuration
    • 10:44 – 12:29 Leaps/Rotation
    • 12:29 – 13:47 Twisting In/Out
  • The Craft of Music Making: Using a natural technique to communicate and express music

    Length: 0’50”

    In this video, Edna briefly touches on how technique will be the catalyst towards expressing music. She uses the analogy of a dancer’s technique which in turn promotes their ability to express the choreography.

  • Edna Golandsky on avoiding the Isolation of the fingers

    Length: 3’30”

    Edna works with a pianist and discusses how avoiding the isolation of the fingers is one of the fundamental aspects to proper technique and how it also applies to other instruments and activities of life including typing.

  • Using Forearm support to avoid Isolation and caving in of the knuckles

    Length: 2’03”

    In order to avoid the feeling of weak fingers, Edna works with a young pianist on using the forearm to lower the key and to prevent the knuckles from sinking. The movement of the fingers comes always comes from the knuckles.

  • Practicing with hands separate and the perils of fractured thinking

    Length: 3’18”

    Dorothy Taubman previously discovered that working with hands separated as well as the concept of “multi-tasking” leads to fractured thinking and hinders one’s ability to play focused. Edna touches briefly on this subject and makes it clear that the brain works better with both hands together.

  • Using the Forearm to play Staccato without tension in Mozart’s Rondo Alla Turca

    Length: 2’01”

    Edna works with a young pianist in playing staccato without holding up the arm and causing tension. She advocates for the use of the forearm in producing the shorter notes.

  • Avoiding Stretching and using the Forearm in playing Trills

    Length: 4’35”

    Edna works with a young pianist on trills with the notoriously “weak” fourth and fifth finger. She points out that stretching the thumb away from the hand will also hinder ones playing.

  • Using In and Out to avoid Twisting in Beethoven’s Moonlight Sonata 3rd Mvmt

    Length: 2’08”

    Edna works with a young pianist to play the opening figuration of this 3rd Mvmt without twisting and causing unnecessary tension.

  • Playing Octaves without Stretching or Preparing

    Length: 9’20”

    For many jazz musicians, one improvises to the limits of what they are comfortable playing. Edna works with a young pianist on playing octaves comfortably without preparing and causing tension in the thumb and fifth finger by suggesting playing them starting from a closed hand position.