- Abby Whiteside
Abby Whiteside (1881-1956) was an influential and controversial
piano teacher whose ideas are still much debated. She challenged thefinger -centric approach of much Classical piano teaching and instead advocated aholistic attitude in which thearm is the conductor of a musical image conceived first in the mind.Life
She was born in Vermillion,
South Dakota andmajored inmusic at theUniversity of South Dakota . After a period spent teaching at theUniversity of Oregon , she studied inGermany withRudolf Ganz . On returning to theUSA and teaching first inOregon , thenNew York , she slowly developed the ideas for which she became known.Ideas
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quote=Why spend dull hours withHanon when the arm can easily furnish all the power that is needed without specialized training? If we could only believe in nature's way instead of in traditional concepts, so much wasted time, boredom, and ultimate frustration could be avoided.
source="Mastering the Chopin Etudes and Other Essays," p. 178|The catalyst for the development of Whiteside's philosophy was the realisation that, as she wrote"...the pupils in my studio played or didn't play, and that was that. The talented ones progressed, the others didn't--and I could do nothing about it." [Indispensables of Piano Playing, 2cd ed. p.ix]Whiteside praised the natural ability of the
child prodigy and thejazz pianist, and sought to understand how an untutored technique could be capable ofvirtuosity . One of her teaching principles stemming from that view were that piano pieces must be assimilated not so much asmuscle memory , but as an intrinsic memory of musical content.One of her pedagogical devices to achieve this was to practice works in different keys, or cross-handed, even simultaneously cross-handed in different keys. Then, upon returning to the correct key, hand positions, and tempo, much of the previous problems in technique had been overcome. Another important device--used especially in the correct tempo of the piece, no matter how fast--is what she calls "outlining": skipping notes provided that the basic rhythm and body dynamics of motion were maintained (her term "basic rhythm" is explored below). The pianist uses these techniques to establish the musical content as firmly in the mind as possible, replacing note-to-note technical concentration, and the attendant note-to-note musical attention, with accomplishment of the larger musical phrase.
In her view,
finger s are almost useless as agents of either direction or force. Although they might be tutored with much patience to achieve a certain level of dexterity, they possess only limited strength and movement. Indeed, the fourth finger in particular possesses very little of either. Instead, Whiteside advocated the use of thehumerus as the principal force for producing a tone at the piano--theshoulder joint, being simultaneously powerful and subtle, is more than capable of doing all the work of any individual finger, and moreover is capable of maneuvering any finger into the optimum position such that a simple downward arm movement is required to sound a note. Thus "weak" fingers such as the fourth finger are not weak if they are driven by the force of the arm, and exercises to develop their "strength" are a waste of time.More than even the
arm , however, Whiteside advocated the concept of a basicrhythm --a somewhat specialized term in her writings which indicated an innate sense ofphrasing present in all but the most unmusical humans. This rhythm informs every action involved in producing a musical phrase, with thetorso , humerus, forearm,wrist and fingers forming a single mechanism to express it. Thus trying to create a completely independent finger technique is inhibitive to a unified expression of a musical phrase, and only encourages what she called "note-wise procedure"--conceiving music as a sequence of unconnected pitches rather than as a whole.Whiteside considered the Chopin Études to be the exact point at which a finger-based technique broke down--only a technique which used the arm to direct the phrases conceived in the
brain could even approach them. She was utterly dismissive of the exercises of Czerny and Hanon, writing:"Hanon is used for developing independent fingers with equal hitting power. Obviously this cannot be accomplished. Each finger may gain more power, but there will still be inequality in the fingers. Fingers need to be only expert in transmitting the power of the arm."Fact|date=January 2008
Whiteside's sense of muscular use is partly along the lines of the
Alexander technique ; perhaps the best-known and best-formalized modern school was founded by Dorothy Taubman. [ [http://www.pianomap.com/taubman.html The Taubman Approach] ] (Taubman's method is now being carried forward by the Golandsky Institute.)Criticism
In spite of the remarkable results Whiteside achieved with her own pupils, many of whom were far from promising when beginning lessons with her, her ideas are still not widely accepted. A technique based on independence of the fingers continues to be widely taught--although the notion is now widespread that an effective arm technique is essential to fluent playing and avoiding
repetitive strain injury , few teachers have been willing to entirely abandon the concept of finger drilling.Critics have pointed out that only one of Whiteside's pupils,
Robert Helps , became known as a concertvirtuoso , and even her admirers admit that her case is not helped by the inadequacies of her prose style--it has been described as convoluted, unclear, repetitious and poorly structured.Nevertheless, testimonials from adult learners who have read her books are widespread--a recurring theme is that the very same Chopin Études on which she based so much of her teaching had been a stumbling-block until her methods were applied. (It might also have some relevance that Chopin himself is reported to have opposed this idea of equalizing the fingers, which was beginning to catch on in his time.)Fact|date=October 2007
Legacy
In addition to Robert Helps, two of Whiteside's pupils became noted teachers in their own right,
Joseph Prostakoff andSophia Rosoff , and continued to apply her methods. The former taught the notedjazz pianist and educatorBarry Harris , and Rosoff taught the jazz pianistsFred Hersch andEthan Iverson andBarry Harris . Whiteside also tutored two Americancomposers ,Morton Gould andVivian Fine .In the late 1950s, Sophia Rosoff set up the Abby Whiteside Foundation, an organization dedicated to promote her ideas, train teachers and performers and organize recitals by pianists trained in Whiteside's methods.
Works
Whiteside, Abby, 2003. "Abby Whiteside on Piano Playing: Indispensables of Piano Playing, Mastering the Chopin Etudes and Other Essays." Joseph Prostakoff, Sophia Rosoff, eds. Amadeus Press, Portland. ["Indispensables" orig. pub. posthumously, 1955; "Mastering" orig. pub. posthumously, 1969] . ISBN 978-1574670202.
References
External links
* [http://www.abbywhiteside.org/ The Abby Whiteside Foundation]
* [http://www.golandskyinstitute.org// The Golandsky Institute]
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