True. You have to do whatever works for you. Mr. Nunzio used to say that if you are comfortable and and you can play it that way 10 times, then keep it that way.Maybe not the best word for it, I guess. There are several commonly-accepted ways to play a chromatic scale, after all. But the one I feel like I see the most is largely what's used in the "Frosini Highlights" arrangements: Thumb on most white keys, 3rd finger on black keys, toss in the 2nd finger if you have two white keys in a row, use the 4th and 5th sometimes to finish up the run.
It's a consistent/logical way of doing it, but not always as speedy for me as I'd like.
I don't think I am familiar with that piece.Makes sense. Also explains his fondness for this sort of flashy chromaticism, which I understand is easier to execute quickly on CBA compared to PA.
I run into the same trouble trying to play (the presumably CBA-composed) Brise Napolitaine. That B section is murder on PA!
My copy does not have fingering on there, its an Alfred edition
I had a similar situation with "Swedish Italian Mazurka" by Frosini. I have two editions, both with a copyright date of 1933. One had fingering and the other had none. It could be that on was marketed for CBA players. (I made a re-arrangement so that the music would reflect the original key.)Interesting! My copy (and Zevy's too, it looks like) is also put out by Alfred, but it's probably a later edition.
This tune has made me much more aware that I need to work on my left hand A LOT more. But, it is carrying over to other songs that I play.
That's exactly the point, Nick. Working on these pieces will give you a lot of help with other pieces of music that you will play in the future.But, it is carrying over to other songs that I play. So, while I won't be programing Olive Blossoms on any concert stages, it is helping me play better when I play folk music for my friends and family. The left hand and bellows technique are also helping me when playing piano accordion. All in all, I'm loving the challenge.