Mastering Tricky Passages and answering your questions (Jarred Dunn feat. Bach!)
Welcome, everyone.
If you’ve been wrestling with fingering choices, tricky passages, or spots in your music that just won’t settle, this is a good moment to bring those questions forward.
Whether it’s a small detail that’s been quietly bothering you or a larger technical or musical hurdle you’re ready to unpack, nothing is too minor to ask about. These are exactly the kinds of things that shape real progress.
Join us live today for hands-on guidance and problem-solving in real time.
Feel free to leave any and all questions below—Jarred is looking forward to digging into them with you.
After a wonderful TWI with Jarred, we will focus on questions and more pertaining to the music of Bach! Please know this stream will focus on is music and style!
4 replies
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I'm working on BWV 999 (little prelude in c minor), and find that the muscles in my right forearm (extensor side) become tired when I play more than about a third of the piece. This happens more noticeably in the sections where the right hand is to the left of midline. Could you please offer some suggestions which may help alleviate this fatigue? Thanks so much!
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I feel all I ask on these mastering tricky passage livestreams is BWV 1052… 😂
Anyways, I have some general questions on Bach and questions specific to the 3rd movement:
1. I’ve heard from various sources that when playing Bach and other baroque composer keyboard works, you should find:
A) the fastest type of note - play it legato and
B) the second fastest note - play it detached/staccato.
Wondering your opinion on this Jarred.
2. Why does Bach write weird random measures in? Don’t get me wrong I love Bach but in this movement the measures seem to be completely out of character and doesn’t sound the best (to my ears). Examples (from BWV 1052 3rd movement) below:
Thanks again Jarred and Dominic! 🙏
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Also, you mentioned in your TWI about how baroque crescendo is denoted by the increase of notes played in a chord? (Did I word that correctly?).
Would measures 115, 117, 119 be an example of that?
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I am struggling to memorize mm. 29-42 of the Bach E major 2 part invention. I am using the practice techniques David Chang outlined over a couple of videos here on Tonebase, breaking the music down into small cells, mastering them additively, but my progress is excruciatingly slow. any advice? it's not so much a technical problem as a conceptual problem: it feels like some of the chromaticism is sort of arbitrary (as the many conflicting editions of this piece make manifest ;-) ) I'm playing from the urtext version: https://www.dropbox.com/scl/fi/pi1s2jxx16fgmkdrkd3cx/Screenshot-2026-02-05-at-10.42.17-AM.png?rlkey=ies6qlynpv0pakisr2i45s0t9&dl=0
