fingering double-note passages

Does anyone know how this passage (from the third movement of Godowsky’s Sonata) can be played more efficiently? I’ve attached a jpeg with the fingering I usually take but it is clearly not very optimal. I haven’t had much background with double-notes, with the exception of some third runs and various broken-chord figurations, so I really need some help here.

I’ve also attached a blank version of this passage so everyone please suggest good fingerings 8)
iii no fingering.jpg

I think your fingering is quite good actually. I wouldnt to anything to the first 2 bars but maybe a bit different in the last one, something like this maybe (from the last 16th note in the 2nd bar):

----------(5)-------
4 | 33534535 | 2
1 | 22121313 | 1

How do you practise passages like this? Not exactly this one, but what about long passages of double notes: both staccato and legato?

Sure, and playing 1 voice staccato and another legato. Preferrably legato on the voice you want to emphasize. Mainly i try to practice the groups of notes where the hand is fairly stationary, and then the transitions afterwards for putting it together. The thumb is the key in passages like this for me.

Its all about reducing the problems in a passage until its easy, and then adding 1 and 1 difficulty, or going the other way, practicing the hard passage with removing problems gradually. Its another thing finding out what the problem actually is, and that can be really hard to find.

The first 2 bars are ok, but here’s what i’d probably do

the first notes can be fingered like this if you want a more legato feel :

5 5 3 5
1 2 1 1
(I don’t like doing 1-1 in the same group of 4 sixtheens. Since you can put a small accent on every other group of 4, going to 1-5 is ok here)

2nd bar:
---------------------------------(5)-----------
3 5 4 5 4 3 5 4 | 3 4 5 3 4 3 5 4 | 3
1 1 1 2 1 1 3 1 | 2 1 2 1 2 1 2 1 | 2

(ok lots of 1-1’s here, but sometimes I have to bend my own rules :p)

From a first look at it I would probably finger it like this if I had a blank copy. I try to be able to connect at least 1 finger to another one in every other double note (usually involving having your thumb under your hand). And I always try avoiding using the same fingering on the same succeeding notes. (here: D-F# in the 3rd measure)

since i have too much time on my hands: here’s how I connect every note
3 5-4 5-4-3 5-4-3 4-5-3-4-3 5-4 3
1 1 1-2-1 1-3-1-2 1-2-1-2-1 2-1-2
(^here 1 goes to the F# 3 was on, so you actually can connect them) (same with 1 and 5 in F# D at the end of the 3rd measure)

This might be a shit suggestion but the more you have, the more ideas you can get from them.

practicing one voice legato and the other staccato is great. Mix them up as well, first play the lower voice staccato, and on the second double third play the upper once staccato etc. So you alternate the articulation between voices.
Also practice the voices separately with the correct fingering. And rhythms, LOTS of rhythms.

And mirror the passage for your left hand and play it with both hands. Makes more connections in your brain so this passage becomes easier in your subconcious gray mass.

Aim for the tone point of the key (when you press a key down slowly, and it stops for a bit)

Thats the only thing I can say heh.

2nd bar:
… | 35454543 | 23535454 | 235…
… | 11121121 | 12121212 | 121…

lol wut

2nded