Antonin Boinay

First of all, I would like to thank Edna for her kindness and her support during the year I spent in New York (from 2014 to 2015).  I would also like the thank her for her deep understanding of the Taubman work and her capacity to guide me through the learning process.

My name is Antonin, I'm 25 years old and I'm from a small town in the french part of Switzerland called La Chaux-de-Fonds.  I began to play the piano at the age of 5.  In 2009, right after high school, I decided that I wanted...

Art Bailey

Dear Edna,

I can’t thank you enough for your patience and guidance, and for this incredible work you’ve developed.  Without any exaggeration, your work has saved my career.  There are few things in this world I love more than making music on the piano, and just before finding out about you, I had resigned myself to giving it up and finding something else to do with my life.  It’s an invaluable gift to know that I can continue playing.  Thank you.

Art Bailey jazz pianist<...

Sylvie Courvoisier

I have had the good fortune of working with Edna Golandsky since 2002.  She has given me all the tools to solve any pianistic issues.  Because of Edna and the Taubman Approach, my sound and technique have developed beyond what I could ever imagine.  She is a great communicator with a deep concern and interest in her students.  Now I can play in a way I could not have imagined with no pain and a wonderful sound.  She is the best!  

Kat Sherrell

I started studying with a student of Edna's and then Edna soon after I first started playing rehearsals for a Broadway show, my first true professional-level gig. The score was notoriously challenging, and I was having trouble learning the music fast enough and playing consistently (sometimes I played brilliantly, sometimes not, and I never felt like I could predict or control what was going to come out under pressure). Also, I was suffering from nerves, and felt the kind of fatigue I was afraid would lead to injury, as well as some pain in my thumbs and fifth...

Gilson Schachnik, Associate Professor, Berklee College of Music

An Interview With Gilson Schachnik

What is your name and current position? Gilson Schachnik. Associate Professor, Berklee College of Music (Ear Training Department).

How did you hear about the Taubman work? I heard about it from Danilo Perez, with whom I was taking a few lessons at one time.

What is your reason for studying? Constant discomfort when playing; tendinitis; severe technical limitations (speed, articulation, sound).

What results have you experienced with Taubman teachers? Since I started doing this work with Bob Durso, a faculty member of the former Taubman Institute, I have...

TOM LAWTON, Senior Lecturer, University of the Arts

Tom Lawton: Portrait Of A Jazz Pianist

Interviewed by Vic Schermer (excerpt)

VS: Some time ago, you told me you were going to New England to study with a woman teacher who was to help you revise your piano technique.

TL: We’re talking about Dorothy Taubman. She has a two-week workshop every summer at Amherst College. I went there and then followed up with Bob Durso in Philly. I spent seven and a half years learning how to play the piano from scratch!

VS: Can you describe the difference...

Don Glanden, Professor, The University of the Arts

In the fall of 1995 I began to experience some discomfort related to my piano technique. This usually took the form of stiffness in my hand, occasional tingling, a sore area on the inside of my forearm and occasional soreness in the elbow. I saw several doctors, a physical therapist and three classical piano teachers who had expertise in piano-related injuries. I also built my own library of over thirty books, endless articles and videotapes about healthy piano technique. I’m thankful for all the help and insight this search yielded. I continued playing for the next seven years...

Bill Charlap

This is a method of tuning into the body's natural sense of alignment, a technique that helps musicians add strength as well as agility to their playing...More importantly, it allows pianists to play pain-free...It's a way of using the entire mechanism of the piano, not just isolation of the fingers. That opens the door for technical freedom, and that leads to musical freedom - you can't have one without the other. The even tone that results when the forearm, hand and fingers are connected allows for accents and idiomatic jazz articulations but frees me...

Danilo Perez

Before I met Edna I always had to warm up. Now I can sit at the piano and just go. I never get uncomfortable or tired. Even when I am away from the piano, when I come back I can play right away. I understand how to get every color be it singing, percussive or anything in between.

This education should be taught worldwide. It should be a part of every educational system from early on so pianists can develop to their utmost potential.

It makes playing the piano so easy.

It has...

Aaron Jacobs

I first met Edna Golandsky just over two years ago. At the time, I was entering my first year studying jazz piano at the New School for Jazz and Contemporary Music, but had been struggling with tendonitis in my wrists. Uncertain of what might have caused my injuries and how I could go about getting better, I contacted Edna to see if she could help. I was immediately impressed by Edna's ability to explain and demonstrate the Taubman technique. We began by  examining my technique and getting rid of the inefficient and potentially injurious habits I had...