: tru da
juz fucked up da writin with da ztac on down beat
I think this is a great idea. I donāt remember if I experimented with 5-5 when I played the piece and if so what my conclusions were, but I was just down at the piano and tried it now and I could play it as fast and as fluently as 3-5 - and thatās after months of previous practise with 3-5 and little or none at all with 5-5. The biggest risk from my attempts now appear to be that you end up accenting the 2nd beat of the bar instead of the 1st through that legato - proper accentuation is something you get for free with 3-5 when you have the entire hand behind the bass note - but I donāt think it should be a problem with some practise. Above all 5-5 feels simpler than 3-5, and thatās a big win in passages like this.
Wut wuz da point in uzin da 3 anyway? juz becuz tiz a ztronga finga?
Diz remindz me ov da MEPH leapz where u go 2 1-5 fo da zingle note den oct leapz
Befo I tried it at da keyboard I alwayz thoughtā¦why not juz zimply uze da thumb , not index. But it juz makez much mo phyzical zenze to āpoint outā zheeyatz wiz our index, pluz it keepz our thumbz in rezerve to haf mo potency wiz da oct
Itās definitely the easiest and most natural fingering, but it will move the slur and I think thatās worth paying attention to when Alkan (at least, I donāt remember how it looks in Chopin) has specifically indicated how he wants it, since it does give the passage a different sound to what you might otherwise do.
Iām randomly not surprised this is lost on Hamelin. Itās a general criticism I have with him - heās all about pianistic efficiency, and his solutions often not only simplifies the pianism but the phrasing as well.

Wut wuz da point in uzin da 3 anyway? juz becuz tiz a ztronga finga?
Diz remindz me ov da MEPH leapz where u go 2 1-5 fo da zingle note den oct leapz
Befo I tried it at da keyboard I alwayz thoughtā¦why not juz zimply uze da thumb , not index. But it juz makez much mo phyzical zenze to āpoint outā zheeyatz wiz our index, pluz it keepz our thumbz in rezerve to haf mo potency wiz da oct
Yes I think so. Stronger hand position, and I think it also follows how the hand is naturally rotated after the chords so the only rotation you get of the wrist is on the way up when youāre doing the 5 below thing (pozz, Iām not at the piano now).
But I never could get it spinning so thatās certainly worth taking note of as well, even if I donāt know if the LH fingering was the main culprit.
Iāve never played the piece, but the articulation gives away the fingering, and in this case I agree that 5-5-chord is the best solution. Keep your l.h. fifth finger flat but firm and close to the keys, and when going from the chord to the staccato bass note, play the chord as short as possible and move the pinky already in the direction of the bass note (quick positioning). You need a kind of circular motion of the hand with a very loose wrist.
I think I do too, if I ever take it up again thatās at least what Iām going to try since I need to do something different. What guides me is just that it feels less complicated. That way itās always easier for the hand to find out for itself what it needs to do.
Alzo compare da openin ov da ZMITH rec to da DOC rec
da crozz rhythm completely emphazizez in da ZMITH and cumpletely zmoothed ova in da DOC
perfect example ov da DOC zmooth ztylee
Yup
I find da ZMITH too emphazizez n juz CG zoundin n da DOC too zmoothā¦a balance wud be ideal
Iām obviously not pianist anywhere near either Smith or Hamelin, and this is a very difficult piece, but I really tried to incorporate the accents but never could get it to work. It was either in the way for the flow, or you couldnāt properly hear it. I really would like to hear a performance which does it successfully. Iād want it as one ascending sound, though with minimal pedal, but with these rhythmical cues in the bass to give it a triplet feel. I think the trick is to āhearā where the beats are yourself as you play, but without actually hammering them out.

Iām randomly not surprised this is lost on Hamelin. Itās a general criticism I have with him - heās all about pianistic efficiency, and his solutions often not only simplifies the pianism but the phrasing as well.
Yet he plays the Bach-Busoni chaconne with all the FUCKED fingerings in da Buz edition (designed to sabotage yo azz)
This iz a good thread. Thank you for pointing out da kan zon stuff. Rezpec fo messing with dat!
If you havenāt see dat vid tiz da DOC taking about editing da etz n explain how zumtym he duznt make it eaziah physically becuz da 12121212 make mo sense muzically
ahahahh da DOC LOOK in diz thumbnail
huge brain + tiny face
lyk da martian mofoz from MARZ ATTACKZ
Of courzEā¦IIZC da call fo fingering da ending move of da
certo but duz a glizz hizzelf in da vid

fo me i wud zay tha zame az tha mikey tha liget6
wit correct metronome practice (haff tha beat on every 5 or 3 or 4 or 7 for certain partz)
Maybe we zhould try tempo.
Who iz da mildly bipolar znuggles?
Fuck da ZNOREABJI.
cue a 85 page dizzertation from da Hinton on da Znoreabjiāz apparent celibate- lifeztylee cumbo, wiv mo nezted parenthezez den a 90z computah programme gone rogue
?
Tru I juz zcrolled thru dat mezz to c I iz not involved??