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4

Your doesn't show the important fact that the trills start on the upper note. See the Peters edition here, for example. http://imslp.org/wiki/Special:ReverseLookup/102120 The fingering in your edition is good, but it's not obvious what it means (and @MattPutnam guessed wrong about contrary motion). Play the lower trill with your thumb under the second ...


4

If you can play this study beautifully, using your own fingering, any fingering, that should be good enough. But where it fits the hand, why not use 4? I'm looking at the Cortot edition (highly recommended; his fingering in particular is generally very very good), and in the very first bar the first pair of octaves is marked 5-5, the second 5-4. All of these ...


3

The main point of alternating fingers in octave passages is not to enable legato playing. It won't produce a good legato anyway, since the thumb always has to jump/slide (although for psycho-acoustic reaons, half a legato can produce a nice illusion of the real thing). The real reason has to do with finger and hand positions. Judicious choice of the finger ...


2

Don't think of it as two simultaneous trills, think of it as a coordinated single trill or tremolo. Also, I'm not familiar with this piece, but the fingering would seem to indicate that the trills move in contrary motion (which I'm finding to be immensely easier as I test it out by tapping on my desk). Finally, I would note that barcarolles are very lazy ...


1

First, I agree with alephzero about the fingering. The fingering in your edition assumes that you start on the upper auxiliary rather than the lower, and as I have detailed in my note to his answer this is not set in blood. If you like the lower auxilary, then reverse the numbers in the fingerings. 4-2 on the lower notes and 5-1 on the uppers, changing to ...



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