Rachmaninoff Elegy - fingering in second section

[mozart27]

Hey guys so actually I am practising Rachmaninoff Elegy Op.3 No.1 and I was thinking about fingering at the third page that part when completely new theme and music coming ( you will recognise in picture ) So you can see my fingering in that pic but anyway I don't think it is very comfortable because where I draw the arrows there are jumps from black keys to another black ones which isn't really comfortable in final tempo well If someone of u have any idea about better fingering or some other advice I'd be very glad for that



Thanks to all and have a great day

[109natsu]

Hi mozart27,

Good luck on that piece:)

I would suggest using
4 3 4 3 5 4 5 4 3 2 4 3 5 4 5 4
2 1 2 1 2 1 2 1 1 1 2 1 2 1 2 1

But that's totally random... I haven't play the piece, so I can't help you more

Happy Practicing,
Natsu

[dogperson]

I am working on this now.  The first comment is m1 -m2:  Why are you not using the same fingering for the same configuration of notes?   m1 5/2-3/1;  same notes in m2-  5/2, 4/1?

M 7- last four notes:   I am using 5/2, 3/1, 5/2, 3/1.  This is a difficult four notes:  if you listen to Rach's recording, even he (with the giant reach) uses a rit. here.  If you and your teacher have a better thought for the fingering, let me know.

M 8 repeats the fingering you use in m1 -- if you look at this as a new segment of four notes, the 'jump' from M7 does not seem daunting.

My teacher suggested I think of this B Section in two beats per measure, and that concept has helped a lot with the fingering. The section is harder than it looks! 

[mjames]

Why aren't you learning the superior revised version instead?!
Never-mind, that was no. 3.
Phew that was embarrassing.

[chopinlover01]

The passage is awkward, and there isn't really a way around that to some extent. Rachmaninoff is full of stuff like this; piano writing that, while gorgeous when it's played properly, is often clumsy to play.

Focus on keeping a loose and mobile wrist. In fact, try playing these with your wrist, so to speak; that is, when you're moving from one interval to the other, use your wrist (guided by your forearm, which is in turn supported by your back) to play the notes. Think of them as reduced chords