Barbara Banacos Describes the Taubman Approach - An Interview

How did your injury develop?

I had played piano since I was 4 years old, but it wasn't until I was in a college music program that I was told that I had to do finger exercises at the piano to make my fingers 'stronger'. It didn't matter that I had already played pieces like Prokofiev's Toccata op. 11 under the tutelage of my father, who always taught me to play in a very natural way. In fact, a lot of jazz pianists play much more naturally than classical players since they aren't usually told to practice finger isolation exercises. I never had a problem with my hands and I remember being able to play fast music without much effort. It wasn't until I was in college and being taught piano technique in a 'traditional' way (which included stretching and curling the fingers, pushing into the keys, twisting at the wrist etc...) that things started to fall apart. It felt sluggish and more difficult to play, not easier. Unfortunately at that time I was young and inexperienced, and far from home. I just kept thinking I didn't get it right yet, that I had to keep practicing to see the result of what I was being told to do. And boy did I practice! Sometimes five hours a day! Until one day my hands just quit on me.

What led you to the Taubman approach?

In 1996 I developed the repetitive stress injury called dystonia which caused both of my hands to close into fists. I had already heard of the Taubman approach and I immediately started lessons with Bob Durso, one of the leading teachers of the work. Within two years I was able to return back to college as a music major.

Which programs have you attended?

With the exception of 2003 and 2004, I have attended Taubman summer programs every year since 1996. I also attend teacher training seminars twice a year.

Where are the programs held?

The Golandsky Institute, founded by Edna Golandsky, the leading authority on Dorothy Taubman's work, holds a summer symposium at Princeton University every July. The teacher training seminars are in New York City.

What was your favorite thing about your Taubman experience(s)?

That my hands returned back to normal! Without this work I doubt I ever would've played the piano again and I most likely would've continued having trouble in every-day life. I would've been happy just with that result! But I am also a much better musician than I was before. The work has given me concrete answers to how to play musically and how to play technically difficult pieces that I could never play before. It also gives me great tools as a teacher. When a student says "I can't play this..." I know that there's an answer based on how they are moving at the keyboard and not based on their level of talent.

What was your least favorite thing? Any negatives?

I had to travel a lot to get to most of my lessons. (I took a bus from Boston to New York City every 2 weeks.) I finally moved to the NYC area to study with Bob weekly.

Have you met other pianists through this experience?

I've met many other dedicated musicians and teachers from all over the world. Some are looking for answers to technical limitations, while some have had to stop playing due to pain and injury. Others are happy with their playing but want to have more skills as a teacher.

How was the approach started?

Dorothy Taubman was a very curious and intelligent lady! She wondered why some people could play the piano easily and why others couldn't. She was especially intrigued by the fact that some children could play better than adults who had been working on technical exercises for years. She studied how people moved at the keyboard who naturally played well and the work developed from there.

How would you describe its most helpful points?

Unlike many of the traditional methods of piano technique, there is no isolation of the fingers. One never stretches, curls, or pushes with the fingers. Even away from the piano, if one were to hold their fingers in a tense and curled state, they would feel how difficult it is to move their fingers easily and/or with speed. The approach is based on what movements give the body coordination and ease of movement. The finger, hand and arm always play together as a unit. Coordinated movements give one control over tone production and facilitate speed without fatigue or risk of injury.

Who do you think benefits most from this approach?

Would you recommend it? I don't think anyone benefits more than another. A basic premise of the approach is that we are all built the same and we can all move in a way that creates ease in playing. I of course recommend it whole-heartedly!