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In Debussey's First Arabesque, 11 measures from the ending, there is a G # whole note sounding during a run in minor triplets up the key board starting with the left hand.....
How are you supposed to sustain that note?
Switch fingers? - with or without sounding the note a 2nd time?
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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In the 13th to 10th measures from the end, you should hold those whole notes for the 4 counts, or it wouldn't sound good. This will take some hand, arm, and finger gymnastics, because you can't take the triplets all with the lt. hand. For example, in the 13th bar from the end, you'd play the A whole note with, say, the the rt. thumb, and hold it down, and then play the notes f-c-e f-a-b c-e with the lt. hand, and then lift the rt. thumb to play the A and then hold it down again, while you play b-c-e with 2-3-5 of the r.h.
Then in the 12th bar from the end play a-b-c with the l.h. and then the e-c-b a-e-c b-a-e with the r.h.
In the 11th bar from the end play the g whole note with 4 of the r.h. and hold while playing b-b-d g-b-d with the l.h., then lift the rt. 4th finger to play g again and hold while playing b-d g-b-b with the l.h.
In the 10th bar from the end play the f whole note with 2 of the r.h. and hold for 4 counts while playing b-b-d a-b-d with the l.h., a-b with 4-5 of the r.h., and -d a-b-b with the l.h. This is just an example of one way of doing it.
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I certainly don't play these bars the way Gyro does, although he did say that his fingering is just one way of playing it.
Since much of Debussy - and these bars are typical - rely on judicious use of the pedal, in bar 13 from the end:
RH plays A, while LH plays F# C# E F# A B C#, then the RH plays the rest of the measure (no crossing over with LH above the staff, and, yes, I repeat the A in the RH)
and similarly in the following bars.
Following my Durand copy of the score, I observe the LH/RH division exactly as it is printed as I have indicated above.
I make a point that the descending whole-note RH melody: A, G#, F#, E resounds over the accompanying figuration in a gradual decrescendo. For smoothness of execution and for the right "Debussy sound", I use the pedal to continue to sustain the whole-note theme as well as the chord created by the arpeggios, and I change the pedal only on the first beat of each of those bars.
Regards,
BruceD - - - - - Estonia 190
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Pedal the entire bar.
(Yes, the answer really is that simple.)
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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