I am soo dead

[lostinidlewonder]

Yes, as I recall in the other thread you do not believe any advice can be transferable to more than one context. So obviously you were making a rule for this passage alone and it should not be applied to a single note elsewhere?

You could have made that a lot clearer, because it sure as hell looked like you were making a general rule to me...

Well it is obvious we are talking about a specific situation, does it need to be more clear? Why would I want to talk about something else?

I wonder why you didn't provide a real answer instead confusing matters even further with your salad and nit-picking. I guess you think that looks clever, it doesn't you know. lol

[nyiregyhazi]

Well it is obvious we are talking about a specific situation, does it need to be more clear? Why would I want to talk about something else?

I wonder why you didn't provide a real answer instead confusing matters even further with your salad and nit-picking. I guess you think that looks clever, it doesn't you know. lol

Quite, theres no rule for a situation where it's vastly more difficult to use three twice in a row on a position change. And there is a rule for a situation in which it's really very straightforward to use three twice for a position change. Ban the easy one and keep the hard one.

Alternatively you could avoid introducing what was clearly the type of generalised concept that you argued against in the other thread (and which you clearly used as a general concept for selecting your fingering).

[lostinidlewonder]

Quite, theres one rule for a situation where it's vastly more difficult to use three twice in a row on a position change. And another for a situation in which it's really very straightforward to use three twice for a position change. Ban the easy one and keep the hard one.

This is senseless to me.

Alternatively you could avoid introducing what was clearly the type of generalised concept that you argued against in the other thread (and which you clearly used as a general concept for selecting your fingering).

I am talking about this piece, you in your demented reading state think it is talking about everything. You crazy person.

[nyiregyhazi]

This is senseless to me.

That was my point, seeing as you obviously missed it. You are applying a needless constructed rule to this passage (supposedly for the sake of avoiding difficulty). but the same rule will be dropped as soon as you have the much greater difficulty of using 3 twice in thirds.

The context of the piece does not demand avoiding any middle finger twice (unless that creates extra hand position changes).  Your externally constructed concept that you tacked on does. If it was inherent to the piece, we'd have all agreed on a single fingering. You applied a rule to it (in spite of what you argued against in a whole thread). It didn't create one.

You can argue the toss all you like, this isn't going anywhere interesting...

[lostinidlewonder]

That was my point, seeing as you obviously missed it.

There was no point to miss.

You are applying a needless constructed rule to this passage (supposedly for the sake of avoiding difficulty). but the same rule will be dropped as soon as you have the much greater difficulty of using 3 twice in thirds.

Absolutely irrelevant to the context we are discussing. You keep trying to draw in random examples which are out of context to the discussion of this thread. This doesn't look good for you to say the least.

The context of the piece does not demand avoiding any middle finger twice (unless that creates extra hand position changes).  Your externally constructed concept that you tacked on does.

You can argue the toss all you like, this isn't going anywhere interesting...

If you want to use repeated middle fingers for two different adjacent chords go ahead and do so but it will be less efficient.

[nyiregyhazi]

There was no point to miss.
Absolutely irrelevant to the context we are discussing. You keep trying to draw in random examples which are out of context to the discussion of this thread. This doesn't look good for you to say the least.
If you want to use repeated middle fingers for two different adjacent chords go ahead and do so but it will be less efficient.

fine, I use a fingering that is widely accepted as the norm for lightning fast adjacent thirds. Yet which is "less efficient" for the exact same notes played at a considerably more comfortable speed in this piece.

We'll leave it there.

[lostinidlewonder]

fine, I use a fingering that is widely accepted as the norm for lightning fast adjacent thirds. Yet which is "less efficient" for the exact same notes played at a considerably more comfortable speed in this piece.

We'll leave it there.

I'm sorry you did not outline your fingering for this contextual example. You merely wrote paragraphs. It only takes a few lines to write all the fingering out. Don't be scared, as soon as we see your fingering we will see how professional you are.

[nyiregyhazi]

I'm sorry you did not outline your fingering for this contextual example. You merely wrote paragraphs. It only takes a few lines to write all the fingering out. Don't be scared, as soon as we see your fingering we will see how professional you are.

As I stated earlier, 13 and 35 in the middle of bar 2- as is used as the standard fingering for A major thirds. The rest of the bar then lies in a single position. Aside from that lelle's fingering is much the same as what I did.

[lostinidlewonder]

As I stated earlier, 13 and 35 in the middle of bar 2- as is used as the standard fingering for A major thirds.

That is not outlining it at all, write ALL the fingering out like I did. Just one little part even a beginner student could do that.

I disagree with this fingering choice as after the 13 we need to go down, if we use 3 we have to move the hand more to get down the keyboard, with 14 you will not have to move as much also using the different middle fingers will promote less tension compared to overusing the 3.

[nyiregyhazi]

That is not outlining it at all, write ALL the fingering out like I did. Just one little part even a beginner student could do that.

I disagree with this fingering choice as after the 13 we need to go down, if we use 3 we have to move the hand more to get down the keyboard, with 14 you will not have to move as much also using the different middle fingers will promote less tension compared to overusing the 3.

For the previous two I use 13 then 14 (EDIT- sorry 23 24) to avoid three threes in a row. However, I see not the slightest reason to avoid the same two in a row from A major thirds.

I'm not going to provide you with anything more than that, as you routinely refuse a variety of members the courtesy of replying to their questions and following up on requests for elaboration. I don't write out anything but significant or unusual fingerings in my scores and I'm not going to write out every last detail to please a poster who shows no such courtesy to other posters. Make whatever you will of the details I already provided. Last time I gave you an example (in response to your persistent requests), after all the hot air about wanting one you refused to either attempt it or follow up on it. I don't jump through hoops for time wasters.

[lostinidlewonder]

For the previous two I use 13 then 14  (EDIT- sorry 23 24) , to avoid three threes in a row. However, I see not the slightest reason to avoid the same two in a row from A major thirds.

Just write all your fingering out already. In the context to this piece it is not to be treated just like a A major thirds scale because the bounds of the notes do not move as far as performing an A major third scale. The bounds are tighter thus we can use more effective fingers, this is the context we have to deal with. It is obvious you lack the experience to apply that.

23/24 is just silliness.

I'm not going to provide you with anything more than that, as you routinely refuse a variety of members the courtesy of replying to their questions and following up on requests for elaboration.

Oh more excuses now! First it was you didn't want to spoon feed people lol. Well it just goes to show that you have no idea how to contribute to a contextual discussion and your theory falls into pieces, yet you have the audacity to try and debate my suggestion even though it blows everything you have said in this thread out of the water.

I don't write out anything but significant or unusual fingerings in my scores and I'm not going to write out every last detail to please a poster who shows no such courtesy to other posters. Make whatever you will of the details I already provided.

I think it is more because you don't want us to see how wrong you get it.

Last time I gave you an example (in response to your persistent requests), after all the hot air about wanting one you refused to either attempt it or follow up on it. I don't jump through hoops for time wasters.

It is not my request really, it is what the OP wanted. They want help to play these passages thus the best help we can give is the fingering combination. Word salading them doesn't help. Be precise, give them precise fingering suggestion like other members also have offered. If you really are such a tip top teacher you should be able to do it immediately it is honestly not that difficult for an experienced teacher.

[nyiregyhazi]

Just write all your fingering out already. In the context to this piece it is not to be treated just like a A major thirds because the bounds of the notes do not move as far as performing an A major third scale. The bounds are tighter thus we can use more effective fingers, this is the context we have to deal with. It is obvious you lack the experience to apply that.

Says the poster who claims to be a concert artist yet refuses to offer any of his playing to the group and who tries to keep his identity secret at all costs.

14 works fine there. So does 13- in a context that is overwhelming easier than that where it is used by pianists as a matter of routine. If you think the difference between 13 and 14 is actually of any tremendous significance, you're thinking too hard about this. I'm equally at home with either. The practical difference is basically nil. 14 reduces one movement whereas going from 24 to 13 has the advantage of the hand already being formed in position before making the leap, with no need for fingers to realign on the way. The passage would have to be ultra fast for the cm or so difference in how far you must move after that to become relevant. It isn't.

The usual resort to personal attacks makes it clear that this is just yet another contest that you perceive against me as an a individual- not an honest discussion about what works or an exchange of opinion. I'll report this renewed spate of ad hominems to the moderators. Your fingering works fine for me. What I don't like is the silly rule against other fingerings that economise equally well in terms of hand positions.

[lostinidlewonder]

Says the poster who claims to be a concert artist yet refuses to offer any of his playing to the group and who tries to keep his identity secret at all costs.

Why are you lying now? Lol there are examples of my live playing uploaded to pianostreet.

14 works fine there. So does 13- in a context that is overwhelming easier than that where it is used by pianists as a matter of routine.

With 13 you will move more compared to 14.

If you think the difference between 13 and 14 is actually of any tremendous significance, you're thinking too hard about this.

Incorrect. You obviously do not value the art of fingering.

I'm equally at home with either.

Both promote a different feeling, 13 is lesser in this contextual example.

The practical difference is basically nil.

Maybe for your limited knowledge.

The passage would have to be ultra fast for the cm or so difference in how far you must move to
become relevant. It isn't.

Ultra fast? lol No the speed here is enough to promote more efficient movement such as using 14 over 13 in this instance.

The usual resort to personal attacks makes it clear that this is just yet another contest that you perceive against me as an a individual- not an honest discussion about what works or an exchange of opinion. I'll report this renewed spate of ad hominems to the moderators. Your fingering works fine for me. What I don't like is the silly rule against other fingerings that economise equally well in terms of hand positions.

Personal attacks? lol. Good try. We are discussing contextual situation yet you still want to spew forth generalized responses which is evident in your first responses here. In fact you spent paragraphs trying to show how others are wrong where you should simply write the correct path.

You refuse to provide the fingering solution for some unknown reason, probably because you do not want people to see what you really know.

[nyiregyhazi]

Why are you lying now? Lol there are examples of my live playing uploaded to pianostreet.
With 13 you will move more compared to 14.

Incorrect. You obviously do not value the art of fingering.
Both promote a different feeling, 13 is lesser in this contextual example.
Maybe for your limited knowledge.
Ultra fast? lol No the speed here is enough to promote more efficient movement such as using 14 over 13 in this instance.
Personal attacks? lol. Good try. We are discussing contextual situation yet you still want to spew forth generalized responses which is evident in your first responses here. In fact you spent paragraphs trying to show how others are wrong where you should simply write the correct path.

You refuse to provide the fingering solution for some unknown reason, probably because you do not want people to see what you really know.

Where is your playing uploaded? I recall previous threads in which you refused to give your identity, although I was unaware of any playing examples (I'm not in the habit of "lying" about anything that would be so easily exposed). In fact, you denied it when I named the chap who is an Australia pianist who has a profile elsewhere under your same username and another one under your email address. Why did you lie about that? What are you hiding?

Anyway, I'm not rising to any bait. Lelle gave a very good fingering for the poster and I have not the the slightest interest in jumping though hoops for a poster who repeatedly demanded examples from me and then refused to follow up on it when I provided one, in a prior thread. The poster has a fingering, your request is insincere and I have no interest in rigidly prescribing individual fingers for every note. If you want to argue about such minute details of fingering from a narrow minded viewpoint any further, then I'll leave you to it. There's no point arguing with a person who cannot appreciate how many alternatives can work in such a passage.

PS I tried 14 and I actually prefer to move more from 13. It opens the hand more pleasantly, for my taste. I wouldn't be so ignorant as to rule out 14 but I prefer opening with a bigger movement that there is ample time for. Being smaller is not automatically better.

[lostinidlewonder]

Where is your playing uploaded?

Go browse the Index of Audition Room.

(I'm not in the habit of "lying" about anything that would be so easily exposed)

I'm sorry but you straight out lied to try and degrade me.

I recall previous threads in which you refused to give your identity

So what? Many people here know who I am, I don't let randoms know me.

In fact, you denied it when I named the chap who is an Australia pianist who has a profile elsewhere under your same username and another one under your email address. Why did you lie about that? What are you hiding?

Irrelevant.

Lelle's gave a very good fingering for the poster and I have not the the slightest interest in jumping though hoops for a poster who repeatedly demanded examples from me and then refused to follow up on it when I provided one, in a prior thread.

You don't have to post fingering suggestions but the fact that you didn't post it immediately is tongue in cheek. For a professional musician as yourself who should find it extremely easy to provide such information you instead chose to show how others are wrong as if that is more important.

The poster has a fingering, your request is insincere and I have no interest in rigidly prescribing individual fingers for every note.

It is not that many notes you know. Your avoidance to this info is illogical but of course your right.

If you want to argue about such minute details of fingering from a narrow minded viewpoint any further, then I'll leave you to it. There's no point arguing with a person who cannot appreciate how many alternatives can work in such a passage.

Why bother quoting me in the first place then if you don't want to discuss? It is obvious you just want to provoke and then throw your hands up and look all innocent.
Fingering is an artform, it is not a mathematical manual of sameness. You need to understand the context to understand the fingering.

PS I tried 14 and I actually prefer to move more from 13. It opens the hand more pleasantly, for my taste. I wouldn't be so ignorant as to rule out 14 but I prefer opening with a bigger movement that there is ample time for. Being smaller is not automatically better.

I'm sorry but this does not give you any grace saying you are not ignorant and you tried 14. In previous post you said they are not any different, you are "EQUALLY at home" as you wrote and you can do both perfectly fine "the practical difference is nil", now you have a preference of your 13, it is amusing how you change your stories to suit your situation. 13 is inferior because of the over usage of 3 and also your hand needs to move more, two factors. And it is not played slowly so you don't have all the time in the world to move.

[nyiregyhazi]

Fingering is an artform, it is not a mathematical manual of sameness. You need to understand the context to understand the fingering.

You also need to understand how many different possibilities can function. It's ironic that you say that, given how vigorously you are arguing for a single possibility, rather than for a broad manner of fingering in groups (which gives many possible executions).

[lostinidlewonder]

You also need to understand how many different possibilities can function. It's ironic that you say that, given how vigorously you are arguing for a single possibility, rather than for a broad manner of fingering in groups (which gives many possible executions).

The context does not allow for a huge amount of difference as you are trying to say it does. If you indeed think there is multiple possibilities then please list out all the VALID different fingering opportunities that you see (although we are all still waiting to see a single example of the best fingering solution for you). If you don't want to then I really cannot take what you say here seriously at all.

[ahinton]

What cracks me up is that a few bars of music can generate more words than the complete works of Shakespeare.

Sure, but Falstaff is at least a Shakespearean character...

Best,

Alistair

[nyiregyhazi]

The context does not allow for a huge amount of difference as you are trying to say it does. If you indeed think there is multiple possibilities then please list out all the VALID different fingering opportunities that you see (although we are all still waiting to see a single example of the best fingering solution for you). If you don't want to then I really cannot take what you say here seriously at all.

Those with a broad view will see many possibilities. Look how many Cortot provided for the chopin 3rds etudes. If you seriously think staccato double notes only have one possible fingering, there would be little point himself in even a Cortot or Horowitz himself trying to dissuade you. Compare your fingering with lelle's and my own for bar 2. All three are fine. Only the one with constant shifts of finger 2 for black keys would be inherently flawed.

[lostinidlewonder]

Those with a broad view will see many possibilities. Look how many Cortot provided for the chopin 3rds etudes. If you think seriously think staccato double notes only have one possible fingering, there would be little point himself in even a Cortot or Horowitz himself trying to dissuade you.

Errr, we have context here already, why do you always randomly go to different sources? Funny.

Compare your fingering with lelle's and my own for bar 2. All three are fine.

There are unnecessary positions used in lelle's example which I would expect from a student but not from a teacher as yourself, also your fragmented suggestions do not make sense, if you could write out your suggestion in a neater fashion so we don't have to read ten different posts to piece it together.

[nyiregyhazi]

Errr, we have context here already, why do you always randomly go to different sources? Funny.
There are unnecessary positions used in lelle's example which I would expect from a student but not from a teacher as yourself, also your fragmented suggestions do not make sense, if you could write out your suggestion in a neater fashion so we don't have to read ten different posts to piece it together.

So a context of slow staccato double notes leaves fewer possibilities than fast legato double notes? If you think allusion to context is going to help with this, you're kidding yourself. The individual context of the two cases is exactly what makes the argument that this instance only works with a single fingering so ridiculous. A slower tempo and staccato articulation does not limit. Faster tempo and legato is what limits available options.

[lostinidlewonder]

So a context of slow staccato double notes leaves fewer possibilities than fast legato double notes? If you think allusion to context is going to help with this, you're kidding yourself. The individual context of the two cases is exactly what makes the argument that this instance only works with a single fingering so ridiculous.

Slow Staccato? Where is that in this context? Fast Legato? Where is that in this context?

We are talking about a specific situation in this thread, YOU are trying to talk about other things. Why are you doing such crazy things? Why don't you talk about this piece and the exact notes and the exact fingers like other members? The more you avoid the actual topic which has a DIRECT question the more you look like someone who doesn't actually know what they are talking about.

[nyiregyhazi]

Slow Staccato? Where is that in this context? Fast Legato? Where is that in this context?

We are talking about a specific situation in this thread, YOU are trying to talk about other things. Why are you doing such crazy things? Why don't you talk about this piece and the exact notes and the exact fingers like other members? The more you avoid the actual topic which has a DIRECT question the more you look like someone who doesn't actually know what they are talking about.

I'm not interested. This isn't about fingering. It's about your perceived feud with me. I'm not interested in arguing on such terms.

PS context also means putting things into a big picture alongside other specifics. I'm not sure what makes you think referencing the word context would allow you to separate a single situation and quarantine it from bring contextualised against the rest of piano playing. You're asking for passages to be exempted from context in a vacuum, not placed into it.

[lostinidlewonder]

I'm not interested. This isn't about fingering. It's about your perceived feud with me. I'm not interested in arguing on such terms.

I'm just responding to your posts and wonder how it has any relevance to this thread. You just can't rattle off your random musical ideas and think it will stand up against other professionals. Especially with a thread with context, the way you avoid the context is very strange.

PS context also means putting things into a big picture alongside other specifics.

But you have not even addressed the contextual example completely to set up the use of other "things" to see a bigger picture. Your attempted to use the thirds scale tried to support your fingering suggestion but it was not correct as I pointed out the bound difference between the scale and this contextual example.

I'm not sure what makes you think referencing the word context would allow you to separate a single situation and quarantine it from bring contextualised against the rest of piano playing.

Again you still have not outlined the actual piece requested in this thread. Once you do that THEN and only then can you elaborate with other material. We may even determine that it is unnecessary to bring forward other examples outside of this context to highlight our points. Once you talk about the context given here you will find that there is more than enough to explain our choices without confusing the matters by trying to bring in other contexts.

You're asking for passages to be exempted from context in a vacuum, not placed into it.

This is unclear and not saying anything.

[maitea]

In reply to the OP,

Specially if the audition is soon, and you don't have time to do a "super rendition", SIMPLIFY! With opera scores, always have a skeleton. Harmony+Rhythm. A singer doesn't really care (specially not in an audition) if you play all the notes in the page (or more, sometimes many things are too simplified and a glance at the orchestral score tells you to add notes here and there). But he needs you to play those notes that will allow him to sing well. So correct harmonies and rhythm, imperative, non negotiable. Then as you have this, you can start to add more. You can be surprised, sometimes just by pure mental rest of knowing that you will simplify and relax and get confident with your basic skeleton, you find that adding the money notes isn't that hard. (In some cases, other arias are a pain!) Good luck! x

[slobone]

? so how do you play major scales in thirds without ever using 3 twice in a row?

Dohnanyi says (going up) 13 24 35 or 12 13 24 35 depending on where the black keys are. But I've never tried that in an actual piece.

[nyiregyhazi]

Dohnanyi says (going up) 13 24 35 or 12 13 24 35 depending on where the black keys are. But I've never tried that in an actual piece.

Sure, that's what I was alluding to. To use this standard pattern, you employ two threes in a row at lightning speed when going in both directions. You need this in the chopin 3rds etude for a descending A major. I was asking for some kind of alternative that avoids two threes in a row- if it's supposedly such a terrible idea (rather than an a perfectly regular one that is widely used without any problems in vastly more difficult music played at higher speeds, and which is even easier to employ without negative consequences in the verdi).

[dima_76557]

Do you have to play it in tempo? I would probably use something like this:

Good fingering. Best book for studying double notes: Moszkowski (attachment)

[lateromantic]

Good fingering. Best book for studying double notes: Moszkowski (attachment)

Thanks for the link.  That's an interesting document.  Some of those fingerings are different from anything I remember from my student days.  I was looking, for example, at his fingering for the ascending chromatic scale in minor thirds, where in the right hand he has 2 moving from D# to E and from Bb to B, so that he never has to use the thumb for consecutive tones.  I was wondering how well that might work with some passages in Chopin's etude in thirds (Op 25/6, a piece which I have found particularly challenging, if played at tempo).  I wonder:  At the tempo of that etude, would the second finger slide from the black key to the white key, or would the keys be played with separate "impulses"?

Of course, I'll need to try it out for myself, but it's difficult to judge what would work better in the long run when you've been doing it the old way for decades.

[nyiregyhazi]

Thanks for the link.  That's an interesting document.  Some of those fingerings are different from anything I remember from my student days.  I was looking, for example, at his fingering for the ascending chromatic scale in minor thirds, where in the right hand he has 2 moving from D# to E and from Bb to B, so that he never has to use the thumb for consecutive tones.  I was wondering how well that might work with some passages in Chopin's etude in thirds (Op 25/6, a piece which I have found particularly challenging, if played at tempo).  I wonder:  At the tempo of that etude, would the second finger slide from the black key to the white key, or would the keys be played with separate "impulses"?

Of course, I'll need to try it out for myself, but it's difficult to judge what would work better in the long run when you've been doing it the old way for decades.

As I recall, this is chopin's own fingering, isn't it? I think he prescribed it for the thirds etude? I'd definitely adopt it.

 If you slide passively the knuckle falls and squashes the hand. The trick is to slide due to a genuine finger activation, so the knuckle is kept up and the space between thumb and 2 stays open.

[pianoman53]

Why don't you just start a topic called "Ask me, I'm an expert!", and then you let people post a statement. This statement is then, as soon as possible, forgotten. The point is to go off topic, and answer questions that hasn't been asked.


I would follow the fingering that Lelle gave... Where you can't play it well, you can probably skip a note or so. I doubt that the jury will mind. I think the point is to see how well you can cooperate on short notice, and not how fast you can learn to play an A-major scale in thirds... Oh, I'm sorry... To play the piece you actually posted.

If you have time, try to have the melody in your head, so that you know that you are able to listen to her, while you play. They probably took a piece like this to find pianists who looks on the whole picture and not getting stuck in playing correct notes. (obviously, the best thing would be to play it note perfect, and being able to listen. But if one has to choose, listen to the singer, and being able to make music together, should always come first)

[nyiregyhazi]

I would follow the fingering that Lelle gave... Where you can't play it well, you can probably skip a note or so. I doubt that the jury will mind. I think the point is to see how well you can cooperate on short notice, and not how fast you can learn to play an A-major scale in thirds... Oh, I'm sorry... To play the piece you actually posted.

You can drop the straw man thanks. Nobody said you have to. I pointed out that what's good enough for controlling lightning fast A major legato thirds is more than good enough to control the easier situation doing the same notes slower here (regardless of what any synthetic concept says). There are plenty of other options that work also.

[lateromantic]

As I recall, this is chopin's own fingering, isn't it? I think he prescribed it for the thirds etude? I'd definitely adopt it.

I was looking at Moszkowski's fingering for the chromatic minor-third scale, and trying to determine whether it might be applicable.  I didn't know that Chopin had left behind a specific fingering for that etude.

If you slide passively the knuckle falls and squashes the hand. The trick is to slide due to a genuine finger activation, so the knuckle is kept up and the space between thumb and 2 stays open.

The "finger activation" should be a flexing of the last two phalanges of the second finger, am I right?

[rachmaninoff_forever]

Oh no she gave me more music...

Noooooooooooo why the heck did I say yes?!

[birba]

Well, I hope you're getting paid for this.  In one way or another...

[rachmaninoff_forever]

In one way or another...

You mean...

With a ticket to a Valentina Lisitsa concert?!

[pianoman53]

-

[rachmaninoff_forever]

NOOOOOOOOOOOO she's giving me two more pieces to learn by Sunday, what the freaking heck?!?!?!

Noooooooooooo why do I keep saying yes???!!!

[birba]

It's impossible to say no to a diva.  Believe me.  I know.

[rachmaninoff_forever]

It's impossible to say no to a diva.  Believe me.  I know.

Dang this is gonna suck soooooooo bad.

I need an excuse in case I can't live up to expectations!!!

[outin]

Dang this is gonna suck soooooooo bad.

I need an excuse in case I can't live up to expectations!!!

You fell on your board and hit your head? 

[rachmaninoff_forever]

You fell on your board and hit your head?  

Of course not!  . That like NEVER happens.  I've haven't even seen anyone hit their head before.

How about...

I was skating and I hurt my hand or something.

Noo...  That's too convenient.  I need a good one.

[birba]

Dang this is gonna suck soooooooo bad.

I need an excuse in case I can't live up to expectations!!!

It's no use.  Divas can see right through you...

[chopin2015]

Of course not!  . That like NEVER happens.  I've haven't even seen anyone hit their head before.

How about...

I was skating and I hurt my hand or something.

Noo...  That's too convenient.  I need a good one.

You have Adhd and you forgot.

[richard black]

Possibly a bit late now, but anyway -

1. Lelle's fingering looks fine to me. It's not exactly what I use, as I recall (I'm not entirely consistent, though I've played the aria dozens of times), but absolutely viable.

2. Fingering isn't the real trick in this one, it's getting each third/sixth chord to repeat nicely, evenly and still pp. Takes a bit of practice.

3. Get used to singers throwing music at you. If you play for opera auditions you are expected to handle harder stuff than this and play it in tempo (but following the singer's rubato and breathing), pretty much note-perfect.

[rachmaninoff_forever]

3. Get used to singers throwing music at you. If you play for opera auditions you are expected to handle harder stuff than this and play it in tempo (but following the singer's rubato and breathing), pretty much note-perfect.

She already gave me something harder what the heck?!

[j_menz]

She already gave me something harder what the heck?!

Better get hard at work then.  I'm with Birba, there's no escape!

Oh, and you never want to see the hissy fit if you stuff it up!  Never!!!!  ***shudders

[rachmaninoff_forever]

Better get hard at work then.  I'm with Birba, there's no escape!

Oh, and you never want to see the hissy fit if you stuff it up!  Never!!!!  ***shudders

"stuff it up"?

Man this is gonna suck hard...  I won't be sleeping tomorrow.

[j_menz]

"stuff it up"?

When are you yanks finally going to learn English? 

Stuff it up = ruin it, wreck her performance, make mistakes, play badly.

[birba]

Listen to the music lots. Cd's and such.  When it's in your head it's much easier.  Because the individual notes don't really count.  Harmony is more important.
And remember.  Even the most  prepared diva doesn't have half your intelligence and musicianship.  It's all about appearances.  That's why they're called divas.  So, it's YOUR appearance that's going to set them at ease and help them feel confident.  Talk.  Lots.  Stop to correct them.  With the appropriate compliments on their fabulous voice.  You know more about the aria then they do.
I've also found it helps to pretend you're gay.