Questions about Le Tombeau de Couperin

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semprestaccato
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Questions about Le Tombeau de Couperin

Postby semprestaccato » Mon Apr 21, 2014 6:12 am

I think people are going to get sick of me asking questions about fingering, but here goes...
I get stuck on the FIFTH BAR!!! :( for that first chord on the right hand(F#-G-B-D), do I use 1-2-3-5 or 2-3-4-5? It just seems hopeless to me. :roll:

What grade is Prelude? It looks a bit hard but I am learning it and it isn't that bad.

jossuk
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Re: Questions about Le Tombeau de Couperin

Postby jossuk » Mon Apr 21, 2014 12:26 pm

You mean the Toccata: 2-3-4-5 seems the only possibility because of the repeated "E".
The alternating chord (f#-a-c#-e) makes the passage even more difficult. Having the right hand at a slight angle with the 2nd finger (the f#) the furthest in seems to help a bit. However, that passage is a good reminder that not all composer-pianist's hands are created equal, nor are all piano actions equally light.

heatherreichgott
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Re: Questions about Le Tombeau de Couperin

Postby heatherreichgott » Sun May 04, 2014 3:13 am

I keep coming back to 1235. Combining two-note groups into single wrist movements seems to work well. I see the logic of 2345 though.
The Prelude is quite easy below tempo, and quite hard at tempo!

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Re: Questions about Le Tombeau de Couperin

Postby HonkyTonk » Mon May 12, 2014 10:01 pm

I don't play this piece, but it looks possible to play the accompanying notes of the first three quaver beats with the left hand, using the the thumb on the awkward chord in the r.h. and changing to 2 at the bottom of the last chord in the bar and playing the following e with the thumb . Of course this might not give the right musical effect in performance and some people might find it even more awkward than playing the passage as written; it's something that would have to be decided in practise.
Many years ago I had the opportunity of observing Ingrid Haebler performing a Mozart concerto and was intrigued at just how often she divided passages, which appear in score as a single line, between the hands. The effect she achieved was perfectly smooth. If ever I come across an awkwardly written passage in a piece I am working on I don't hesitate to see if it's feasible to rearrange the layout between the hands for the sake of greater ease and security!


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