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What fingerings to use through Measures 1-10

Should I use complex finerings?
1 (50%)
Should I just buy the book?
1 (50%)

Total Members Voted: 2

Topic: Maurice Ravel, Une Barque Sur L' Ocean  (Read 7051 times)

Offline johnflans128

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Maurice Ravel, Une Barque Sur L' Ocean
on: September 08, 2011, 10:53:01 PM
I'm having a lot of trouble with this piece. The beginning seems to require a good fingering technique on the left hand arpeggios, I would love to know them, or else spend 10 bucks on Maurice Hinson's book on how to play the Miroirs suite. Please help.  

Offline fast_forward

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Re: Maurice Ravel, Une Barque Sur L' Ocean
Reply #1 on: September 09, 2011, 03:31:01 AM
I don't know if the fingering needs to be complex, but the challenge comes in keeping all the notes blended to create the sense of a single continuous flow (except obviously the few melodic notes that need to come out: the G#-C# melody).

The fingering I think that works for me is 5-3-2-1-3-2-1 (F#-C#-E-A-C#-E-A). This also gives the thumb the role of the playing the G#, which will naturally come out due to the thumbs mechanics. The challenge of course then is keeping the A's that the thumb play blended with the rest of the arpeggio.

As for buying Maurice Hinson's book. I personally don't like his ideas, but I would recommend Nancy Bricard's edition of Miroirs (Alfred I believe) which has a number of very good and well researched fingering suggestions, and performance suggestions.

All the best with this amazing piece of music.

Offline johnflans128

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Re: Maurice Ravel, Une Barque Sur L' Ocean
Reply #2 on: September 09, 2011, 02:58:42 PM
Thank you Very Much! Do you happen to own the book? The one with the editions was the one I was going to get.

Offline ravelfan07

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Re: Maurice Ravel, Une Barque Sur L' Ocean
Reply #3 on: December 26, 2023, 04:18:44 PM
I don't know if the fingering needs to be complex, but the challenge comes in keeping all the notes blended to create the sense of a single continuous flow (except obviously the few melodic notes that need to come out: the G#-C# melody).

The fingering I think that works for me is 5-3-2-1-3-2-1 (F#-C#-E-A-C#-E-A). This also gives the thumb the role of the playing the G#, which will naturally come out due to the thumbs mechanics. The challenge of course then is keeping the A's that the thumb play blended with the rest of the arpeggio.

As for buying Maurice Hinson's book. I personally don't like his ideas, but I would recommend Nancy Bricard's edition of Miroirs (Alfred I believe) which has a number of very good and well researched fingering suggestions, and performance suggestions.

All the best with this amazing piece of music.
Wow that is actually incredibly good and easy fingering, thanks!
Amateur pianist and composer(will show works soon)
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