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Natural Fingering – A Topographical Approach

The art of fingering is a huge subject, not least if studied historically. While many professional players stress the importance of good fingering we often find fingering suggestions offered by renowned editions to be clumsy, odd or simply out of place. New York pianist and teacher Jon Verbalis book Natural Fingering is a rich resource on the subject of piano fingering. Read more >>

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Author Topic: Help with Liszt´s first transcendental etude  (Read 356 times)
rovis77
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« on: September 12, 2017, 03:04:10 AM »

Why does Liszt write with a double stem the sixteenth notes that start on measure 2 and end on measure 3?. Thanks!!

http://www.youtube.com/watch?v=qEXTrwgBKMg
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klavieronin
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« Reply #1 on: September 12, 2017, 06:00:38 AM »

Liszt wants to show that there are three separate voices to play simultaneously; 1. the notes in the bottom staff, 2. the notes in the top staff with stems pointing downward, and 3. the notes in the top staff with the stems pointing upward. Try to imagine it as three separate instruments playing together.
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