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Composers All Composers Addinsell Albéniz Arditi Argento Bach Barber Bartók Beethoven Ben-Haim Bizet Bonds Boulanger Brahms Carter Chopin Copland Danielpour Debussy Donaudy Fauré Franck Gershwin Ginastera Granados Grieg Hahn Handel Haydn Hopekirk Ives Janáček Kaprávolá Liszt Martinu Mendelssohn Mozart Obradors Poulenc Price Prokofiev Rachmaninoff Ravel Rodrigo Rossini Saint-Saëns Sancan Schubert Schulhoff R. Schumann Scriabin Shostakovich Sisco Strauss Tchaikovsky Tosti Vaughan Williams Vine Weber Wolf ContributorsTechnical Categories Special Collections Brandwein's Ravel Fingerings Submit Ideas About How It Works Who We Are Search
Piano Tricks
fingerings reimagined

PRICE | Dances in the Canebrakes: Nimble Feet: mm. 51–56

“The accents in m. 51 come through more clearly when divided between the hands. I prefer to maintain the octaves in the right hand in m. 56 for consistency and less shifting in the left hand.”

Submitted by Michael Clark

Published on 10/4/2020

Solo PianoMichael ClarkJuly 4, 2017Florence Price, Dances in the Canebrakes, Michael Clark, redistribution, maintain technical pattern, alternating handsComment
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PRICE | Dances in the Canebrakes: Nimble Feet: mm. 1–2

Solo PianoMichael ClarkJuly 4, 2017Florence Price, Dances in the Canebrakes, Michael Clark, redistribution, clear articulation
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PRICE | Dances in the Canebrakes: Nimble Feet: mm. 91–92

Solo PianoMichael ClarkJuly 4, 2017Florence Price, Dances in the Canebrakes, Michael Clark, redistribution, arpeggios, reduce position shifts
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