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I'm having trouble deciding on the fingering here.



For the third note of measure 8, I can't decide whether to use 1 or 4. 4 is awkward, but if I use 1, then I have an awkward jump to the Ab. Any advice?

Thanks,

Al

put 3 on the C# and 2 on the D so that you can play the Ab with 1 and the G in the next measure with 4.

Great idea, thanks. I think I'll put 2 on the G -- if I use the 4 then I run out of fingers.

I have a similar problem for the last two measures. I'm currently using 1 5 4 2 1 2 1 5.

Putting 2 on the G is a better idea. I didn't think much past that :p

215 at the end seems like the only option. Depending on how I wanna play I might use my thumb on the Db and then just slide it down to the C. It's a bit more comfortable, but not really orthodox. Try, 1 4 5 3 4 2(or 1) 1 5. Having 5 after 4 might seem strange but it really works.

1: 1, 2, 1, 4
2: 5, 3, 1, 2
3: 1, 5, 4, 2
4: 1, 2, 1, 2
5: 3, 5, 1, 2
6: 5, 3, 2, 1
7: 2, 1, 4, 2
8: 4, 2, 1, 2
9: 5, 4, 3, 2
10: 1, 5, 1, 2
11: 3, 5, 4, 2
12: 4, 2, 1, 5

Regards,

It depends on how fast the piece goes. Does it have to be a perfect legato in the L.H.?

My goal is 225 BPM for quarter notes. This is what the final result should sound like (I recorded the bass and treble separately, and then sped them up):

https://www.box.com/s/43ba034732a7389e0fe5

I realize this is a non-classical piece, but I am approaching it in a classical way.

It's funny, I'll try a new fingering for a section and think it's great, and then the next day not so much.

I liked the evil pacman solution yesterday, but today I don't like having to shift the hand in to put the thumb on the Ab.

That often happens if one is indecisive about fingering. One has to find a fingering that seems to work and stick with it, practicing it until it feels absolutely right. Of course, the trick is "finding" the fingering.

Well, to me, that was a sensible solution. There's nothing wrong with playing thumbs on black keys.

I must say this example is not "pianistic" at all. Lots of weird, unnatural combinations of notes. It's almost written with no regards to the human L.H. But I can see if you play with that fast tempo, you have no need to legato everything. Just use whatever fingering is convenient.

Sometimes the rhythmic grouping of notes trumps logical, legato fingering. I wrote out what I thought was a sensible fingering for a Samuel Barber piece, but my professor changed several measures of my fingering because she said I should try to have the strong fingers on strong beats for music that goes fast.

For your piece, I'd almost group every bar as a unit and forget legato between measures.

I'd put 2 on the Ab then for meas 9: 3,1,3,2,1

But fingering is often dependent on articulation and phrasing. A jazz bassist might interpret the line with some accents (2 and 4 for example) and groups and as a pianist I'd approach it like a bassist would. That could affect the fingering choices.

And I don't think there's a difference in a classical or jazz approach to fingering. It's all the same.

Yes, now I am back to that one (Thanks, Evil!) and I think I will stick with it.