Unlocking Your Piece: Guided Analysis with Dominic
Struggling to make sense of a tricky section, or wondering how to bring out the structure and meaning in your music? In this livestream, Dominic will walk you through practical strategies for analyzing your piece. We’ll break down difficult passages, uncover patterns that make learning easier, and connect the score to interpretation. Join live, ask questions, and leave with tools to approach your piece with clarity and confidence.
Have questions about analysis, memorization, or tricky passages? Submit them below! Let’s get specific with your pieces so we can dive in together.
5 replies
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Beethoven, Pathetqiue 3rd movement.(Rondo)
How to bar 118 & bar 182 -200
Also I can't control my LH playing softer for this piece
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I had wrote down the harmonic analysis of my pieces. For example, a haydn last sonata 3rd mvt begins in Eb major, it navigates through f minor and to Ab major before returning to the tonic key. There are also brief excursions to chromatic passages and diminished chords. But i am not sure how to make full use of this knowledge to improve on my interpretation. Does the transition to minor key always mean to play softer? Or are there any general tips on how to make full use of harmonic analysis?
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I'm playing the first movement of the Schubert B flat sonata. It's been said that the movement is not technially difficult, but difficult to "hold together." Any suggestions you can give me regarding "holding it together" or interpretation, would be helpful.
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Ciao! Chopin:
Impromptu n.1 Op.29, Coda from bar 119 on: do you pedal at the end or you do pause in bar 25?
Mazurka op.6 n.5 "dal segno senza Fine": how am I supposed to end the piece? 😅
Ciao! 🌞😎✌🏻
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This may be impossible to answer briefly, and I'm also only able to attend for the first half of the webinar, so feel free to ignore the question: I'm learning Beethoven's Op. 101. The first movement is constructed of a dizzying array of ascending or descending three-note and four-note motifs and their variants and inversions. It seems like everything is related to everything, and all lines and phrases are somehow derived from each other. Like in many other great Beethoven sonatas, I want to show that I understand the structure, but I don't want to make it sound like I'm giving a lecture. I want the music to flow and not emphasize every single element. How can I find the balance between intellect and musicianship when performing this piece?
