Problem-solving Mozart's passagework and fingering with Jarred Dunn

Hi Jarred, I have a question about sound production in Mozart’s music, particularly in the context of the Taubman approach. How can we create a clear, “pearl-like” sound using forearm motion instead of excessive finger motion?

Another question is how to transfer the forearm weight in the fast passage, especially for small hands. In K279 Mvt1 (31-34) and (39-41), whenever I use open position 5321 or 5421 (red fingerings) at a fast tempo, my fingers tend to stretch and hovering on the previous position without releasing. In a slow tempo, however, it works fine that I can release and transfer the weight without stretching. It feels like there’s a missing link between slow practice and playing in tempo.
 

For (31-34) I was able to find alt fingerings (blue fingerings) without the stretchy hand position and that seems to work, but for (39-41) I couldn't find alt solutions, do you have any suggestions?

Jarred Dunn

Hi Jarred!

I'm so glad to see you again on Tonebase!

My requests for this live stream:

1) K397 Fantasia D minor: fingering of Presto passages (bar 34, 44, 86) and can we alternate hands (bar 53)?

2) different approaches to fingering repeated notes: is it always necessary to change fingers? K576, III (bar 178, 179); K545, III (bar 7-8 and 33)

3) K545 III coda (bar 68-73) Fingering: is it okay to a one-octave arpeggio and then double thirds staccato 2-4 or double thirds legato?

4) K310, I is it necessary to hold long notes, and if so, what fingering? (bar 59-69)

Ciao!