Mastering Tricky Passages and answering your questions!

Awesome. Thank you Dominic.😊

I'm not sure I can make that time in my timezone however I would welcome any advice on broken arpeggios in Mozart e.g. K457 C minor 3rd movement.

That's the Henle-Verlag edition. I would welcome feedback on whether you agree with that fingering, and how to practice this and similar passages in Mozart with broken arpeggios to achieve the light, evenness of tone that Mozart demands.

I feel it's that one technique I'm missing in Mozart!

This question is regarding Rubato in the Romantic Music Challenge

• Frédéric Chopin – Nocturne in E minor (posth.)

• Part I found difficult is Bar 25 and Bar 34 – 36 (32nd notes fingering and Rubato)

 I always seems to struggle on mindset and practice strategy on Rubato. Any tips/ advice when it comes to Rubato (easy & challenging ones). ( I always starts with the following steps –e.g. L hand first, then R, then left. Then I practice this many times OR I will use a pencil to group the notes and then draw a line from R hand to L hand and then practice this many times. However, it feels like there might be other steps I'm missing/ other elements that I should be thinking of?) No one have ever talked to me about Rubato before so I'm just using my own (probably wrong) method of practice and approach. 😅 

Thanks for your time!

Hi - any tips on using the wrist to help facilitate the octave transition pivot on arpeggios (specifically, descending right hand arpeggios)?  Realizing that every arpeggio requires a different approach and execution, I’m trying nevertheless to find a way to take the weight off the thumb without too much overall movement (I’m trying to keep a more-or-less linear motion across the keyboard).  An example is the opening descending arpeggio in Chopin’s op. 54 (mm. 69-71).

Also - referring to the same arpeggio above - I’m having difficulty managing the major third using fingers 2 and 3 (I’ve settled on beginning each octave with the 4th finger after trying may possibilities).  It’s a bit of stretch for me (the 2nd finger on the A is throwing me off).  I’m thinking of grouping the notes (d-sharp/c-sharp, a-e) to help but don’t know if that’s overkill.  By contrast, the next arpeggio in the Scherzo is much easier for me because my second finger is on the a-sharp . .

Re. Liszt Consolation No. 3

Where would you use the una corda? Currently, I’m applying it at the end, towards the perdendosi.

I have questions about RH trills in chords. Could you help me how to process this passage m 80-86? This piece is Ete Cadadien by Andre Mathieu. 
Thank you. 

Hi Dominic, For me it's that Art Tatum like stride passage in the 3rd mvmt of Ravel's Concerto in G (page attached) Thanks!

Hi,

For the romantic challenge, I'm working on Schumann's Von  fremden ländern und menschen. I've attached a short clip of my playing and also the marked up music related to qs. 3. Would love your advice on these:

1. Qs is about balance. I think I need to quiet down quiet down the three lower voices more, but would like your thoughts and advice on how I can work on achieving that. 

2. How to practice so that I can play the piece with less stiffness and more flow.

3. I struggle with playing the notes circled in red (in the attached marked up music) either too loud or not playing the notes due to playing the keys too softly (while trying to quiet down my left hand). Advice?

Hi Dominic! Can you give some general advice on how to speed up a piece? I am working on Bach's Italian Concerto 1st mvt. Lots of notes - fingering is super important - things go by very fast. Thanks!

Hey Dominic.  Grappling with Scriabin Etude in C# minor Opus 42 #5.  Measures 9 - 18 or so are killing me.  Thoughts on practicing?