DANIELPOUR | Piano Fantasy ("Wenn ich einmall soll scheiden"): mm. 223–24
 

“I sustain the lowest voice with the sostenuto pedal so my left hand can jump up to play the G and F-sharp of the middle voice, freeing my right hand to maintain a projected sound and legato connection in the upper voice with the minimal pedal that Danielpour requests. The fingerings in Italics are Danielpour’s.”

Submitted by Michael Clark

Published on 3/8/2023

 
DEBUSSY | Pour le piano: III. Toccata: mm. 25–30
 
Piano fingerings for Pour le piano: Toccata by Claude Debussy

“I use this fingering because it allows the right hand to stay in a relatively close position. Playing the right-hand thumb on the first note of each fragment, which is an undershape up to the fifth finger, causes the elbow to have to move further and more precipitously from left to right than the 1 2 5 undershape. The overshape from the top note down to the thumb doesn’t cause the arm to move as much. This is very important in the very quick tempo of this piece. In addition, it is closer to move the thumb from the last thumb up to the top note. And lastly, taking the first note of the fragment with the left hand allows the right hand one extra note to complete the movement up to the top note.”

Submitted by Deborah Cleaver

Published on 1/2/2022