Martin Cooke Posted August 26, 2011 Share Posted August 26, 2011 I feel this is a great piece and I have often sat down to get my hands and feet around it, the most recent time being yesterday evening. However, I am always foxed by the fingering of those little ascending semiquaver passages - six semiquavers in octaves followed by two bold chords - for example - bars 6 - 8. I confess that I usually start (in the RH) with thumb on the E flat for the first three semis, and then thumb again for the second three semis starting on D, but this can be hit and miss (of course) and I just wonder whether I am missing some more elegant and safe fingering solution to this passagework, or whether I should put in some sedulous practice so that I nose dive more accurately when I re-place my hands for the second time, if you see what I mean. This is where my lack of early discipline in learning and practising scales and arpeggios on the piano catches me out badly. The trouble is that this little argeggiatic motif appears so frequently during the piece and in so many different contexts in terms of the notes, that, for me, it renders, an otherwise, reasonably straightforward piece rather unapproachable. If anyone who has this piece at their fingertips has got these things sorted I could do with some advice, please! Link to comment Share on other sites More sharing options...
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