Mastering Tricky Passages and answering your questions!

Thu Mar 19 at 11 AM - 12 PM PDT
Thu Mar 19 at 11 AM - 12 PM PDT
Event by Team

Welcome, everyone. 

If you’ve been sitting with questions about your playing, fingering, tricky passages, or musical roadblocks you haven’t quite cracked yet, this is a great moment to bring them out.

 

Whether it’s something small that’s been nagging you or a bigger challenge you’re ready to work through, every question is worth asking. Join us live today for real-time guidance and problem-solving!

 

Leave any and all questions below!

18 replies

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    • Noel_Nguyen
    • 3 wk ago
    • Reported - view

    Liszt Etude Transcendental no.2, the sections that begin in bar 13 (super fast runs) and bar 58 (super fast chord leaps). For the leaps I tried the usual method of placing the fingers on the notes before hitting them but it doesn't seem to work at this speed. So I',m using the approach suggested by Taubman, which works better but it's still hard as hell to hit all the notes without "extra" notes 😅. The etude is manageable otherwise, so I won't give up. Looking forward to hearing your advice!

    • Maria_F
    • 2 wk ago
    • Reported - view

    I would appreciate advice on the passage starting in measure 17 of Rachmaninov's Prelude in G Minor, Op. 23 no 5. I can reach 9 notes and struggle especially with playing the the fast chords in measure 23 at full volume and tempo. I also would appreciate advice on the Wanderer Fantasie, especially the third movement.

    • Anita.4
    • 12 days ago
    • Reported - view

    Q1) How to play Chopin Ballade in G minor Op.23 No.1 bar 31. and any practice tips for bar 255 – 258 ending?

    (overall how do we figure out fingering and grouping such as this one?)

     

    Q2) I wonder if this Chopin Ballade in G minor is too tricky for someone like me (I started learning piano again 5 years ago as an adult, now intermediate around level 5) This live stream makes me wonder if there's any golden rules to figure out if the piece is too tricky for one's level?

    E.g. I can play for Nocture in C sharp minor/ Nocture in E flat major/ Moonlight 1-3 mov comfortably. The Chopin Etude Op 10 was not possible for me at the 1st glance but the last live Chopin Etude Op 10 you taught with such clarity 👍 was super helpful, you made it possible for someone not so advanced like myself to learn the song!

     

    Thanks for your help!

    • Gloria
    • 12 days ago
    • Reported - view

    I am studying December “Noel” pp 37 no12 by Tchaikovsky.

    I am having difficulty to play LH Chords in staccato in fast tempo. I tried to play rotated wrist for the bass and dribbling motion on the chords but getting tired by 2nd page. 
    would you help me out? 
    also I listened several recordings, LH waltz rhythm on 2-3 beats are slightly different (  short energetic tone vs soft tone)  What would you recommend? Also how to use pedal on this? My tempo is 176. 

    Thank you Dominic.😊

    • Herman.2
    • 10 days ago
    • Reported - view

    Hi. How can we practice this transition into the mesure section from image 1 debussy page 2.  
     

    is there a way to practice correctly? Slow practice seems to fall apart here.  It does not feel possible to play with metronome either. 
     

    some general advice is appreciated for practicing this mesure section.  

    • PViseskul
    • Yesterday
    • Reported - view

    I have a question more on a tricky situation: how to deal with playing at a different sitting height at the piano.

    I went to a meet up recently and played the Rach Elegie, and the highest I could get the piano bench to was still a good 10-15cm lower than my bench at home. My elbows were well below the keyboard level, and I felt very disoriented navigating the keyboard while playing, resulting in many more wrong notes. Also I couldn't move or utilise my weight as I usually do when I play at home.

    I don't usually get to play on another pianos and going to meet-ups is an infrequent opportunity, so how should I prepare for that kind of situation? Would it be worth from time to time to try running through the piece at varying bench height or something to simulate unfamiliar settings?

    Thanks :)

      • Personal trainer
      • Judy_Kuan.1
      • Yesterday
      • Reported - view

       I'm curious to hear the answer to this too! In fact, learning this lovely piece was the reason I finally gave in and bought an adjustable height bench - sitting too low resulted in elbow and wrist irritation (Right side) from this piece specifically! 

      • Maria_F
      • Yesterday
      • Reported - view

        When I had a non-adjustable bench a few years ago, I bought a thick chair cushion to adjust the height. It might be impractical to carry a cushion with you, and it may still be too low, but it might help! 

       said:
      Would it be worth from time to time to try running through the piece at varying bench height or something to simulate unfamiliar settings?

      As long as you don't strain your wrists or hands, I don't see any harm in doing that. The only potential issue could be adjusting the bench to the perfect height again. 

      • PViseskul
      • Yesterday
      • Reported - view

        I would admit that my bench height at home is quite high. The bench at the venue is adjustable however the highest it could get is still way too low for me to play comfortably (also the tedious knob turning itself probably does damage pre-performance already hahaha). Carrying a cushion on public transport is not ideal though I may consider that option next time I play there.

      Anyway, my question is more about what can we do to practise to perform at unfamiliar settings esp when you don't have opportunities to practise beyond your own instrument. Bench height is one, where the music sheet is placed is another.

      • Noel_Nguyen
      • Yesterday
      • Reported - view

       Not to downplay your challenge but I have the opposite (I like to sit low), which is even more problematic. It's fairly easy to add height to a bench (e.g., with cushions, books). But to make it lower there is no other way than to saw off the tips of its legs, which is exactly what I had to do with my own bench at home! So if I want to play well on any other piano but mine, I have to bring my bench with me.

      • PViseskul
      • Yesterday
      • Reported - view

       😂😂😂

      • Maria_F
      • Yesterday
      • Reported - view

       Occasionally lowering the bench is a good idea. I also keep my bench on the higher side as my keyboard is higher than average, but I don't sit high relative to the keys. 

      • Maria_F
      • Yesterday
      • Reported - view

       That sounds potentially hard on your wrists and hands. Do your forearms slant upward, and are you able to play with curved fingers?

      Also, it would be easy for you to sit low at a Seiler; they are tall! 

      • Noel_Nguyen
      • Yesterday
      • Reported - view

       My wrist and hands are doing fine, and so is the rest of my old body.

      And it's nice that Seilers are tall. I'm using thick caster cups for my Baldwin.

      • Maria_F
      • Yesterday
      • Reported - view

      Get a Seiler! 

      • hot4euterpe
      • 13 hrs ago
      • Reported - view

       I am interested to hear Dominic's response to this. I constantly stress to my students that the height and distance of the bench are very important for healthy, sustainable technique throughout the performance of their music. While there are slight adjustments you can make if it is a touch low or high (such as adjusting the distance a little or sitting slightly more forward / backward, I would personally feel like 10-15cm too low with elbows well below the keyboard level would be entirely unworkable. If there was nothing available to either use as a cushion or to elevate the bench legs themselves, I would consider what repertoire I'm playing and possibly decline to perform. After all, you described very well the disorientation, inaccuracy and inability to use arm weight. With the Elegie in particular, a comfortable, level forearm is of course vital.

      I do also tell my students that when playing on an unfamiliar piano you have to play with a certain level of risk assessment until you feel comfortable: choose a slightly slower tempo than normal; take advantage of rit and rubato moments to give yourself space to become more connected to the touch; avoid going for extreme piano or forte dynamics until you feel confident in your touch; be sure to get out of the keys quickly so that you can return to rest positions as often as possible etc. All of this micro-adjusting though really hinges on having effective sitting height and distance so that you can operate your arms and fingers reliably.  

      You can certainly carry a cushion with you and even have blocks that you can use to shim up the bench legs but these will usually not gain you 10-15 additional cm. I wouldn't advise intentionally practicing with extreme changes at home as this could disrupt all your careful work and could cause forearm strain in the case of the Elegie. Your performance outcome does not sound like a lack of preparation or adaptability on your part; some situations are just untenable. It is okay to have and know your limits for a successful performance! I certainly wish someone had told me this sooner as I have had some similar experiences and they can be very disappointing and actually work against building our performance confidence.

      • PViseskul
      • 12 hrs ago
      • Reported - view

       really good advise on the risk assessment - thank you.

    • Paul_Larson
    • Yesterday
    • Reported - view

    Try placing a large book, like a dictionary or a couple of encyclopedias on the bench to find the perfect height.  It worked for me years ago.

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