I have a piano piece with arpeggiated chords and at first glance, I thought I would have to leave out the bottom note on one of them because my hands aren't long enough. Then I looked closer at the notes and symbols and I realized I hadn't noticed the half brackets on the left side of the arpeggiated chord symbol. I've searched all over for something similar to the notation in my piece, but I can't find anything. I don't know if it's supposed to mean a separation or not, even though it's one long arpeggiated chord symbol.

arpeggiated chord with half brackets on left side and fingering numbers on right side

There's also an instance with both the left hand and the right hand doing one long arpeggiated chord, and the half brackets to the left of the arpeggiated chord symbol. arpeggiated chord with left hand and right hand and half bracket symbols on the left of the chord

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    I'm not familiar with this notation, but the fingering makes it clear that of the notes in the treble clef, the "down-bracketed" E and A are meant to be played by the left hand, while the others are in the right hand. I find it odd that the "wavy line" doesn't include the bass notes, since obviously you'd need a bit of time to move your left hand... Commented Aug 23, 2021 at 18:27
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    For future reference, please edit your question to include the title and composer of the piece involved.
    – Aaron
    Commented Aug 23, 2021 at 18:54

2 Answers 2


To understand the brackets, see What does the L-shaped symbol attached to C5 and G4 on the top staff mean?.

In terms of execution of both cases, you'll play the bottom octave with your left hand, then jump to play the left-hand bracketed part (upside-down L) and right-hand bracketed part (right-side-up L) as a single arpeggio.


Look carefully at the suggested fingerings. There's the clue. 5 1 4 1 means all played with l.h. (and pedalled), and 1 3 5 in the top bracket means use those fingers from r.h.

That's the suggested fingerings, although some players may manage to roll the top five notes just with r.h.

The second example is very similar, and would/could be played in the same way.To execute both as the composer wants, the lower octave needs playing on the beat, with the other five notes arpeggiated immediately after. It's not one long arpeggiated symbol - it's only the top five arpeggiated.

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