Pianophilia

Thanks for finished the 3rd Mov´t Alfred. Very interesting. In looking at this particular portion:

Alternative right-hand-alone fingering for the r.h. 5-note arpeggiated chords page 94 & 95:

"R" fingering:
1) 1-2-3-4-5
2) 2-1-2-3-5 resp. 2-1-2-4-5
3) 1-2-1-2-4
4) 2-3-1-3-5
5) 2-3-1-2-4
6) 1-2-4-5-1

Here we have a perfect example of why I need help in this kind of fingering. I would normally (i.e. abnormally!) play these 1-2-3-5-(3, sometimes 4) if sight reading and just avoid the thumb crossing altogether. So now I will struggle with the right way. The sheer beauty of this concerto invites playing it and experimenting with these very interesting fingering experiments.

Sure am glad I don't play this concerto for a living.

fleubis wrote:Thanks for finished the 3rd Mov´t Alfred. Very interesting. In looking at this particular portion:

Alternative right-hand-alone fingering for the r.h. 5-note arpeggiated chords page 94 & 95:

"R" fingering:
1) 1-2-3-4-5
2) 2-1-2-3-5 resp. 2-1-2-4-5
3) 1-2-1-2-4
4) 2-3-1-3-5
5) 2-3-1-2-4
6) 1-2-4-5-1

Here we have a perfect example of why I need help in this kind of fingering. I would normally (i.e. abnormally!) play these 1-2-3-5-(3, sometimes 4) if sight reading and just avoid the thumb crossing altogether. So now I will struggle with the right way. The sheer beauty of this concerto invites playing it and experimenting with these very interesting fingering experiments.

Sure am glad I don't play this concerto for a living.

I personally prefer taking the bottom notes of the respective chords with the left hand. If you want to pedal "from the lowest note upwards", this fingering is not possible. In that case I would use fingering 2) or 3). Fingering 6) is quite easy in respect of placing the thumb transversely on the key; but it is not easy to avoid a false accent (because in a way the thumb is „thrown“ onto its key). Imho „throwing“ the 3rd (or 4th) over the 5th finger is of course a possible solution, but i may prove more insecure than „throwing“ the thumb.

I can see how 2 or 3 is correct in those passages for most cases, but the other alternative sure seem like a lot of work...to play the lowest note of the group with the left hand-- it's an alternative that would never have entered my mind--especially when going from "meno mosso" to "poco accel" ....... but does create an interesting effect.

fleubis wrote:I can see how 2 or 3 is correct in those passages for most cases, but the other alternative sure seem like a lot of work...to play the lowest note of the group with the left hand-- it's an alternative that would never have entered my mind--especially when going from "meno mosso" to "poco accel" ....... but does create an interesting effect.

Of course the respective chords should be "rolled up" fairly quickly, but nevertheless I prefer being able to hold down - even if only for the short moment of three triplet semiquavers - at least 3 notes of the chord. So for me the fingering 1-2-1-3-5 (with a careful "jumping" from the 2nd to the 3rd note) works fine.

Excellent! I am gaining some real insights here.

On we go:

RACHMANINOFF
Piano Concerto No. 3
1st movement
last portion
alfor fingered™

Wonderful, Alfred! I sure have been waiting for these so it's off to the piano.

Thanks for posting!

For proper „sound catching“ I had to revise my fingering of page 43:


IMPORTANT:
I forgot to scan the first two pages of the cadenza.
So this is the definitive first part of the „last portion“ of movement one
(from page 37 to page 44)

Alfred, your revisions to P.43 are very interesting, and both versions differently address which hand to play the last semiquaver. "Sound catching": What an interesting turn of phrase!

To fleubis, our most ardent Rach fan:

RACHMANINOFF
Piano Concerto No. 3
1st movement
middle portion
alfor fingered™