Mastering Tricky Passages and Answering Your Questions: Live with Dominic Cheli

Due to the popularity and overflow of questions from last month's LIVE session, Dominic is back to help you!

 

Do you have questions about your playing, fingering,, challenging passages, or musical hurdles you’re trying to overcome? Whether it’s a simple query or a complex issue, every question matters, and every solution makes a difference!

 

Join us live today for real-time advice and solutions from Dominic Cheli—your guide to mastering music, one finger at a time!

 

Leave any questions below in the chat!

 

Follow this event link to tune in!   

https://app.tonebase.co/piano/live/player/pno-live-solutions-dominic-cheli-2

 

We are going to be using this thread to gather suggestions and questions!                                                                                

  • What questions do you have on this topic?
  • Any particular area you would like me to focus on?
6replies Oldest first
  • Oldest first
  • Newest first
  • Active threads
  • Popular
  • I’m really stuck with the left hand tremolo for Pathetique 1st movement. I think my stretch is too small to only use rotation. I can just barely reach a 10th. Thank you! 

    Like
  • Hello. My name's Maxi and I am 13. I am absolutely honoured to be here and part of the tonebase community for the first time. I absolutely love your courses! I know this is turning into a bit of a Beethoven session 😂 but I had a short question for you about the first movement of the Tempest sonata. When it comes to the opening, especially bars 8 to 16, I find it doable to play the notes with the articulation that's marked on the score at speed, it's just that I then find it difficult to incorporate the crescendo to forte (first to bar 13 and then to the start of the first subject in bar 21) while keeping the articulation because we have to play the second note of each pair slightly quieter to get the slur and  then make each pair slightly louder. Any thoughts on how to practise these bars to have better control over this devilish passage? Thanks so much!

    Like
  • Thanks to Jarred Dunn's wonderful dynamics course, I have discovered that I am collapsing the rh dip joints on fingers 4 and 5. Perhaps this is due to previous instruction on using flat fingers for a "singing tone." 
    1) Do you have any suggestions/exercises to remedy this?
    2) How does this relate to producing the singing tone?
    Thank you so much for doing these presentations!
    Pat

    Like
  • Thanks guys for all these questions! Keep them coming - love it!

    Looking forward to helping answer everyone soon enough!

    Like 1
  • Thanks for doing this Dominic! My question is about m134-135 in Mozart Rondo 511- smoothly transitioning between the trills. 

    Like
    • Peter Golemme
    • Piano Player with Day Job (for now)
    • Peter_G
    • yesterday
    • Reported - view

    Hello Domenic,

    I'm re-learning the Prelude & Fugue in C Minor from Book 1 of the WTC.  There's the infamous Presto section in the Prelude which I would like to play as fast as I can while keeping the hands together.  Do you have any practice tips or techniques for keeping the hands together at the faster speeds?

    Here are a couple of things that have seemed to help me, and I wonder what you think of these or whether you have others:

    1. I try to lead with my Left (weaker) hand, having the Right hand 'wait' for it before hitting its notes.

    2. I try to lift my hands slightly before the 1st 16th note of each beat, dropping them together onto the notes, so that at least the beats start together.  The other notes still drift apart, as it seems like each little glitch between certain fingers (usually 4& 3 or 4& 5) gets exagerrated when trying to speed up the tempo.

     

    thanks for these sessions, they are great! I learn from everybody else's questions as well as my own!

    Like 1
  • 6Replies
  • 106Views

Home

View all topics