Doubt in Dohnanyis Exercises - Ex 14

[abhishekchanda]

Hi All,

I have a doubt with Dohnanyis exercise - 14. In the image below, can someone please explain me the difference between the portions that has been highlighted. Aren't these triplets. How are they supposed to be played?



In the image below(extract from same exercise), we need to move G to G sharp right hand( 4th finger to 1st finger) for the portion i have highlighted. Am i correct with fingering? I am asking this, as i am having difficulty in doing so, but maybe more of practice may solve the issue.


Thanks

[Bob]

First image -- Different rhythm.  Larger span for the thumb to move.


I'm not so sure of myself on the second one.  It looks like it's practicing awkward fingerings though. Those are the 'composer's' fingerings, right?  Or editor's at least?  It looks like an exercise to practice awkwardness and stretch a little more with the fourth finger / thumb crossing.


First image again -- Those are triplets.  It's a triplet in the first 8th note, tiplet in the second 8th note.   Eighth-eight    =   16th-16th,16th-16th = trip-o-let,trip-o-let.  I'm not sure exactly what you'd call those.  It's three notes in the space of the 8th notes though instead of two notes (16ths) like before. 

[visitor]

I have in past and will begin again today working a Brahms one from the 51 that does very similar chromatic drilling of 1234 very close together, I've found it helps me release tension in the hand and close note accuracy

[brogers70]

For what it's worth, I tried that second fragment you posted. I found that with the right hand, if I kept everything very relaxed that I could get from the 4 on G to the 1 on G# by moving my whole hand a bit forward and passing my thumb over and in front of the fourth finger. And as it gets faster the thumb doesn't cross much of anything because the hand is moving fast enough to bring it into position without the thumb having to reach for the note.

[jgallag]

For what it's worth, I tried that second fragment you posted. I found that with the right hand, if I kept everything very relaxed that I could get from the 4 on G to the 1 on G# by moving my whole hand a bit forward and passing my thumb over and in front of the fourth finger. And as it gets faster the thumb doesn't cross much of anything because the hand is moving fast enough to bring it into position without the thumb having to reach for the note.

Yes, I personally don't use this fingering (I stay with the simply 3 on black keys, 1 or 12 on white keys, but in order to do this, your entire hand needs to be in. You cannot wait until the 4 on G to move the hand in for 1 on G#. F, F#, and G should all be accompanied with slight forward motion in the hand so that the thumb is in the black key area *before* it needs to play G#. I highlight this because if you are waiting until the last moment to move the hand in, no amount of practice will make it smooth.

Also, it can be confusing, but it's actually quite common to leave out the -3- when notating triplets. I would assume it was done on purpose here because there are already plenty of numbers with the fingering. You can trust the beaming to tell you whether or not to play triplets.