MARIA SABOYA's Teaching

I am quite unsure whether to post it under this category or the master video one. This video is very clear precisely because it uses very simple pieces. What a pity I can't understand what she said. But the approach she uses appear to share an important aspect with Alan's: it is very ''physical'', and she keeps talking about how to generate those motions to produce the desired sound. However well her approach works, I think it is very inspiring just to watch her hands, which is more important than what she said. And I believe this is how most young pianists learn by imitation (often very implicit) rather than intellectually digesting what she said. Her hands appeared to be very functional, with active fingers, good arch, and relaxed (but toned and effective) hands and arms supporting those motions. Whatever she said (which might very well be different from what she does!!! As is so often with these not very scientific artists.....) this is certainly underrated compared with Taubman's.....

Subtitles are, unfortunately, only available in French, which you could then just type into Google translator to get an idea. Although it is all very physical as you correctly noted, I'm afraid that what she is saying does not really correspond very much with what Alan is trying to accomplish. The lady is very much in lifting the fingers high to make them strong and she believes in actively STRIKING and PUSHING the key, albeit "relaxed". She also has some arm weight ideas of the kind I suspect Alan rejects. Actually, her remarks have more to do with acrobatics than with quality sound production. This is not about awareness; it's about gymnastics. Sorry if that sounds too harsh. P.S.: Maria Saboya also has a patent on a device that reminds of John Bernard Logier's Chiroplast or Kalkbrenner's Hand Guide: Paul

I didn't say it's the same as Alan's teaching, nor am I totally endorsing her. But I am very open to all kinds of approach. I think with piano technique, the danger is to not to try different ways of playing or ways to practice, but to embrace certain doctrines. Taubman's approach is very unappealing to me precisely because at the outset it rules out too many ways of playing. And Alan's teaching is appealing to me because it is encompassing everything he could find and is rather scientific. If this lady is saying her way is the only way, I am not endorsing her. But some of the demonstrations here, and instantaneous rigorous finger actions while checking the hand is free of unnecessary tension, suddenly gives me an ''ah-huh'' moment and provides me with ANOTHER way of practice!

Hi I speak french and you haven't missed a thing. This is so french (even if MS is from Brazil) but as you say any tool in the toolbox can come in handy.Even french "jeux perlé". MS herself has a pretty stable arch what I can see but some of her pupils doesn't so in that respect her stuff is probably far from Alan. As I I've understood Alan is pretty open to anything as long as you have built up some fundamental archfunctions.There is a classical antagonism between the french and the russian school-if it's real I don't know. MS is neglecting the collapsed arche of her pupils and therefore the armweightstuff may turn in to the disaster AF wants to avoid at all costs. If some schools turns into fanatism it doesn't mean all is bad? Some of Taubmans teachings I personally think is brilliant like the concept of shaping in and out etc. She hardly invented those concepts.

You focused on good point and have done great job. Style and method is praise able. appreciates your efforts and to point out teaching techniques.

At the beginning, she says some good things. Too bad the sound of the music being played does not reflect the good things she says. We find out why a little later on - she starts talking about how to manage the weight of the arm. No wonder it doesn't sound at all good, especially the opening of the third Ballade. She is making the classic mistake - she has joined the Piano Weight Watchers.... It is artistic suicide! AFF