Piano Forum

Okay.  I have seen this topic since you started it, Mr rimv2, and I am presently working on this piece also.  I have not responded yet because it is a brain buster for me to put much of anything about this into words, but here I go :

First of all, I am not quite sure what you are referring to by "experimenting with chord attacks"... I assume you are talking about the RH, but how is this helping your LH with all of those running notes ?  Or maybe you were just mentioning that as a separate piece to the puzzle.

Secondly, I would very much agree that when one thinks in terms of fingers rather than hands, it is more difficult and labored.  As you mention, it is helpful to think in terms of hand positions and then the fingers are already there.  The aim would be to think of (and feel) moving the entire hand when a leap is necessary, instead of trying to reach with the fingers.  Also, using the forearm as a guide seems right on to me.

With that having been said, I am inclined to go ahead and use the thumb on the black keys in this section.  For one, it's what my edition has suggested (Schirmer) and I never changed it because it works for me, but more importantly, along the lines of hand positions, it requires less movement by the entire hand and less reaching with the fingers.  It also follows the same fingering pattern as that used in the G Major runs, and consistency is very good in my opinion, whenever practical.  In this case, I would ask why not use the thumb ?  Finger number 2 would require the whole hand to reach further, and it would also force the hand positions to change one more time than with the thumb on the F#.  The less hand movement, the better (imo), when dealing with the tempo and nature of the moving notes in this piece.

I see measure 7 acting as a V7 to the key of D Major, or V7/V in the key of G (however, I don't quite know what the F# on top of the chord would be labled).

So, we are partners in crime, I guess  .


m1469