Relaaaaaaaaxxxxxx Man.

This chapter was all about weight and relaxation, two supposedly different things that made up the same technique. Carreño was smart to discuss 'controlled' relaxation in her teaching to distinguish from the impossible total relaxation of playing. I really liked what I read about Godowsky, and wish there would have been more about him. He admitted that there was much more to playing the piano then just weight and relaxation and Breithaupt would have learned much from him...

My general impression of the Breithaupt method: meh. It wasn't all bad, but it when it comes to putting some of his ideas in to practice, it just isn't realistic. If there were no difference between the theoretical world and the actual world, perhaps his method would hold water. But this isn't the case. Good things were talking about "bridge support." I liked that he would have students practice this away from the piano. I learned this a different way and perhaps more effective but I still liked it and think it is very important to have proper bridge support in playing. Also, having students practice the rotations away from the piano is very helpful, and it worked for me. He took being relaxed to the extreme and while in theory it is a good idea and something to think about, it's physically impossible. Some of the weight technique would allow for freer playing but I think this sacrifices accuracy. The biggest thing to take from his method is the encouragement for arm participation as we wouldn't be able to play piano without arms....