banl wrote:I agree with Flamey, naming those chords isn't going to help me (and I think nobody) to play this piece better. I believe that in the first few replies to this thread Aryeh was saying the same thing. His comment about the placement of the stems gives more insight than the talk about chords.
Here are some things that my teacher taught me when we were working on this piece:
......... f# in measure 47 should be f......
Now where would your teacher have got such an idea?
Oh, wait! Perhaps it might be because measure 47 is basically a dominant E7 leading into the chord of A minor in the next bar, and as such the harmony might be derived from the A harmonic minor scale which has F natural rather than F#. (a, b, c, d, e, f, g#, a)
These are the kinds of things that people can discover for themselves if they are encouraged to do so by participating in a thread such as this. It is a long road and can be difficult, but it is certainly worthwhile for those with the intellectual curiosity to do so.