Week 1 - The Opening Pattern and Finding the Melody

Terence W Bar 15 of the Prelude is definitely a bit crowded for both hands because both LH and RH share the same note at different points, the bass clef 'A'.   The TB score suggests for the first 8 notes of that  bar -RH - 5 3 2 3 1 3 2 3 (the A has the thumb - 1), and the LH TB score suggests - 4 1 2 1 3 1 2 1 4 (the A has the 1 - thumb again but LH).  I think if I read your explanation, that that is the same as your suggested fingering?      Anyway,  one possibility is to shift the hands a little, with the LH a little more into the keyboard toward the black keys, and the other hand (RH), a tad towards the edge of the keys.  Stacked that way they won't compete for the same space. The other way is simply to train the LH jump to 'jump' out of the way quickly for that one note, the 'A'.   If one has been playing legato up to that point, for a split second, the LH ends up being non-legato when it 'jumps' out of the way.  (PS I just re-listened to Dominic's recording at that bar - he seems to have his hands stay in the same dimension (I.e., not forward or backward), and sure enough, it sounds very clearly non-legato on that note - the A, there is a little gap of space).   One has to try these suggestions out slowly, and see which one yields the best result.  Sometimes there always remains a bar in a piece that doesn't feel 'comfortable' or 'natural', no matter the practice. Good technical question. Anyway,   others might have other suggestions. 

Vicki Thank you for the suggestions.  I have actually tried both.  The second approach seems more manageable for me. 😅 

Terence W Yes that's how I practice that bar 15  as well, i.e., both thumbs will alternately hit the note at the same spot on the key, but 'jump' out of the way of each other to the side,  when needed.  And I practice just the 'switching' parts over and over, since that's the problem spot (i.e., The F-A, A-C, then F-A, then back to A-C).  We're all in the same boat. :-)

Michelle R quite right!. The level markings on TB may be off by quite a bit. This prelude and fugue is "advanced" not even intermediate. I looked at the score and could barely get through the first page - so quickly closed it. :-)

Another example I have been playing the Chopin C# minor at night( marked as intermediate .. ! sigh!. It should be "very advanced"). Barely reading the notes of the first page with lots of help from fantastic recordings. Have memorized the first 2 lines. :-) but the pedalling is definitely not easy at all. ! Need to re start with Dominic's systematic track again .. right after the Invention is done

Peter William You are pretty close! The posthumous C# minor Nocturne is early advanced. It is on par with the Op. 9 No. 2 but the rapid fioratura at the end of the C# minor is often performed somewhat under tempo by even early advanced learners.

These two nocturnes are the most common ‘my first Chopin nocturne’ pieces (though there are a few other early advanced ones of comparable difficulty).

Dustin Anderson My first Chopin Nocturne was Op. 9 no. 1, followed by the posthumous C# minor. 

Maria Well that’s great! The C# must have felt pretty manageable since Op. 9 No. 1 is a notch higher difficulty.

Peter William  your quote  ''- so I quickly closed it". 😂😂 (I've done that too with some pieces :-)).  Enjoyed the humor. :-)   On a different note  though regarding the tracks - I'm finding that even if one is not going to learn the particular piece, Dominic teaches so many concepts, techniques of practice, one can study the tracks anyway, and store all this in one's musical database for future use.  For instance, in this track on the Prelude-fugue, concepts in voicing ('ghosting'), crunch practice, precise dynamic mappings, etc. were taught that one can use elsewhere. I'm enjoying every one of these tracks - marvelously done.

Vicki I cannot agree with you more. I am just waiting to complete my experiment with Bach's  Invention in C. As soon as it is memorized I am going straight to the Tracks.  Dominic is fabulous I followed some parts of the Chopin C# Minor track with the great virtuoso Juliana Avdeeva and Dominic explaining and will be returning to that track and this prelude shortly. There are so many concepts covered. Can't wait to start them - it will be like having a teacher right next to you ! For the invention there is a wonderful lesson by Prof Stern - superb. It is all that one would need to learn the Invention. 

By the way I finally nearly finished  reading Josef Hoffman's book. There are terrific pieces of advice there and plenty of caustic humor regarding lesser mortals like us as well :-).  But all in all it was a wonderful read. Hope you have the book and read it as well.

Peter William So glad you are extracting practical info from the tracks as I am as well.  Thank you for the reminder about the Hoffman book - remember I downloaded it on kindle for $4.99 :).  (I have a lot on Kindle like that).  It's actually free currently.   Your reminder creates an impetus to read it and see what advice is given.  Thanks for the reminder. 

Vicki I assume this is the book, 

https://a.co/d/09JeIPjn

and not the forthcoming biography of Hoffmann “The Piano’s Forgotten Giant,” which seems to be priced at $90, or any book about the Viennese architect of the same name.

I use Kindle samples to track my To Be Read list. It stands at something like 1500 titles, mostly literary fiction. Spoiler alert, I will never finish my list.

Larry K Yes that's it.  I started it last night tx to Peter's comment.  There are some very technical questions he answers in that book  (I'm like you regarding Kindle- thousands of samples, and even a few books I've purchased  but then I forget about it sometimes :-).  Interesting according to your comment about the forthcoming autobiography book!

Vicki I read the book (almost all of it ) over the past few days. It is quite a delightful read with lots of really funny statements. Well you know he is Hoffman and can say anything - mostly poking stuff at ordinary learners/students/advanced students all alike . LOL!. 

Since it was published in 1920 It is on the internet archive I downloaded to my drive and happily read it on a big screen. If you need it let me know I will send the pdf over or send you the link. No need to buy it. If I find it in the store I want to have this book on my shelf. It is definitely worth every word and more.  There is a question answer session from presumably American students of the time and he answers lots and lots of questions on technique, repertoire, hand movement, listening and how to practice ( early morning hours - are the best ! lol! - and don't do more than 2 hours at a time ). 

Larry K yes thats the book. A red cover .. ! 

Larry K 

Vicki  10/18/2026 -  I started reading Heinrich Neuhaus' great book. It is quite fascinating ! Don't forget to read it.  He is considered to be one of the greatest piano teachers of all time - Both Richter and Emil Gilels were students.  All piano aficionados and pianists( all levels - including beginners ) would benefit from  reading it. Humorous anecdotes are sprinkled throughout for good measure. 

Larry K There are many but some of the common ones that I have taught to fulfill the 'invention' requirement of young conservatory program students include Pierre Gallant (In a Canoe, Jazz Inventions No. 1 and No. 2 from a collection called "Imitations and Inventions"), Teresa Richert (Curious Cat, Courageous Cat, Cranky Cat from a collection called "Copycat Copycat: 12 Little Inventions"), Renée Christopher (The Snake, Invention in C Major), Christopher Norton (Carol in Canon, Breezy), Béla Bartók (Conversation No. 1, 2 and 3, Little Dance in Canon Form), Cornelius Gurlitt (Canon in A Minor from "The First Lessons" Op. 117).

Dustin Anderson Wonderful, thanks for those recommendations.