Awakenings alternately occur between teacher and student, especially if they’re collectively open to them. And embracing this sharing spirit, I welcome ideas from pupils about phrasing, technique, etc. since we enjoy a common journey of discovery.
By chance, one student brought a “new” fingering for his assigned D Major arpeggio in 10ths, and it worked so well that I tried it and liked it. Naturally, it wove its way into my recommended repertoire of fingerings and became an ever-flowing gift to other pupils.
In the Black, White, Black stream of root position arpeggios that use LH 5, 3, 2, 1, 3, 2, 1, etc. against RH 1, 2, 3, 1, 2, 3, 1, etc.. in the sequence for example of D F# A, D F# A, D F# A, D instead of using the Right Hand fingering as a springboard for tenths, where RH F# A D F# A D F# would enlist 2, 3, 1, 2, 3, 1, 2, etc. my student suggested for the same Right Hand sequence 2, 1, 2, 4, 1, 2, 4, 1, 2, 4, etc. which provided an inner symmetry between the hands and a nice RH spill into the last octave without an awkward thumb shift at the peak turnaround. (The “new” fingering explored also applies to A Major and E Major arpeggios in 10ths)
The video below examines the feasibility of the revised fingering, showing its ease especially in brisk tempo. And where a crescendo to the peak note is needed, the RH 1, 2, 4 spread of fingers in the last octave is particularly defining. Viewing the hands together dimension there are convenient chord blocks in respective hands that if practiced in a parceled way, will aid fluency. And once the sequence plays out in broken chord fashion these symmetries will kick nicely into the speed zone.
from Arioso7’s Blog (Shirley Kirsten)