chromatic scale in double thirds:rh 31, 42, 31, 42, 53, 31... to me this must be just as hard connecting. must go try it and experiment to see which i can play better. someone else started another thread about finger lengths that are unique to each player. wonder if this is the deciding factor?__________________________________________________________________Thi8s
Rh 31, 42,31, 42, 53, 31 is nearly the fingering Cortot sugests as second option for the descendent chromatic double third scale in Prelude op 28 n 24. I have write above when I mentioned "another new fingering...", take a look:"Prelude op 28 n 4 - Cortot Editions - we have two possibilities in chromatic double thirds descend scale....gliding forefinger, and another new fingering with no thumb in consecutive white keys, very interesting..." Here we have no gliding thumb or forefinger. But for my hand is very difficult to play at fast tempo, as you confirmed too. This fingering could be useful for slow scales.I prefer think firstly in these aspects without the help of pedal or the help of gliding thumbs with little depress, or superficial depress of the key, and with the purpose of playing a tempo.Try to do decompose the third, em play only with the fingers of the bass...using 1-2 ...fingering...compare using 1-2, with 2-2 in black-white.... C-#C-D-#D-E-F......1-2,1-2,1-1,2-1....(thumb in white keys, E-F)C-#C-D-#D-E-F......1-2, 1-2, 2-1....(forefinger in black key #D and E)...This way you will see the facilities of the forefinger versus thumb.But when doing the thirds scales a tempo , I prefer the first, with thumb in consecutive white keys, even with an smooth imperceptible break. Something hapens in hands doing the thirds thats makes easier the Chopin's fingering...1-3,2-4, 1-5, 2-3, 1-4, 1-3, 2-4....etc...What happens?