I didnt read all of this, but do you advocate changing the fingering in chopin
s etudes?
-da Meph
I didnt read all of this, but do you advocate changing the fingering in chopin
s etudes?
-da Meph
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I didn
t read all of this, but do you advocate changing the fingering in chopin
s etudes?-da Meph
It depends on how broadly you define ‘changing the fingering’.
In my view, there is a distinction to be drawn between changing the fingering within the original fingering principles, and changing the fingering so as to alter the original fingering principles.
To illustrate the difference, consider the first C Major arpeggio of 10/1.
The orthodox fingering for this arpeggio is of course 1245/5421.
An example of altering the fingering within the original fingering principles would be the execution of this passage using 1235/5321. (Of course, this fingering would not make sense in this context - it is merely to illustrate the difference between these two kinds of alterations).
An example of altering the fingering principles themselves would be the execution of this passage using 312421242/42124212 (CGCECGCEC/ECGCECGC).
I have no problems with altering the fingerings within the original principles. However, because these are études with a mechanical goal to be achieved, on a case by case basis, I may object to altering the principles themselves, insofar as the étude is played with this mechanical goal in mind. Usually, I am against making such changes - such as a change similar to the above in 10/1. However, in some études, I have no problem in altering the original given principles, such as 25/6 and 25/11, to mention two exceptions to the general rule.
If another pianist chooses to play the études whilst putting their mechanical aspects completely aside and plays them entirely for their own musical enjoyment as pieces, though, they can do whatever they want - who am I to judge what they do for enjoyment?
But insofar as I am unwilling to alter the original given principles, when in performance and on stage, the situation may be different. If the piano is a difficult instrument, or if the stagelights are excessively bright, or if I am much more fatigued than I anticipated being, I have a whole host of tricks in the bag which I will pull out if necessary. In my view, in performance, it is more important to deliver a convincing performance than it is to remain a technical stickler. (I note that the SDC agrees on this point, with even zepp raising no eyebrow at the technical shortcuts taken by Wunder live at the Warsaw.) But I would never perform an étude if I had to rely on such alterations. If I had to rely on them, I would not be ready to perform them. But nevertheless the ‘escape strategies’ are there, ready to be used if necessary.
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