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Hi folks!

I'm looking for some fingering suggestions for this passage:


I'm mostly concerned with the triplets in the 2nd and 3rd measures of the three shown here. The first measure is shown for context. So starting from the triplet in the 2nd measure, I first tried: 325 421 421 241 245

That seemed fine but it was a bit it was a bit awkward because a hand shift happens in the middle of a triplet so I changed it to: 325 421 421 245 124

Is this logical or am I missing some better options? The good thing is that this passage isn't played blazingly fast so any solid fingering option seems to work fine 👍

Those are just standard G major arpeggios. Better avoid using the 5th finger in the middle. Personally i would do something like 345 421 312 (or 432) 123 123

Personally, I'd stick with this as the next note is E flat a semitone above, which you can play with 4, so the whole thing is a smooth natural movement.

That's fine too, but why not play 123 at the end, so you can play the E flat with 4 rather than 5? (My pinky has a general aversion to black notes when everyone else is playing white .)

Great suggestions and exactly why I posted here! Not sure why I didn't think of ascending the triplets with 123. Thx!

Wow either you play this yourself or you checked the score! Haha

So it's not a no-no to do a hand shift in the middle of a triplet?

I've sight-read through quite a lot of his (and Albéniz's) best-known piano music - most of it after I visited Andalucia, and of course Granada (& Alhambra), Córdoba, Sevilla (all names familiar from Albéniz's music....), but never actually learnt any of it properly.

Nope, you can do anything you like (including lifting up your hand to do something like your 1-2-4-5-1-2-4) as long as there are no unwanted breaks or 'bulges' or accents or hiccups in an arpeggio or run.

Nice! This sort of repertoire is some of my favorite...really lovely stuff.


Good to know! I've never studied with a teacher so I just want to avoid doing something that could harm technique down the road.

OK, so I've practiced this B section over and over and I'm more or less happy with it. But now the A section sounds weird to me haha. Specifically something about those few opening triplets sounds uneven or like there's a hesitation or something...but I don't know what to practice to fix it.

I'm not sure if I can post this here or not but here's a clip of me playing the piece: https://drive.google.com/file/d/1L6uJfvdTwa_neGwP7cembmOrqFIGL3Om/view?usp=sharing

The repeat of the A section opening triplet at 0:18 sounds good to me...that's what I'm going for. The opening ones don't sound good, but again I don't know exactly what the difference is or how to practice to get them to all sound like the 0:18 one lol.

Forgive the piano sound...it's not great - it's a Alesis Concert cheapie.

I listened to the beginning of your piece. First i would say that the tempo is a bit slow. I would see the piece being more lively.

I dont see really anything wrong with your triplets but you do have an issue with the rhythm. You play all 3 beats at pretty much the same volume and put too much emphasis on beat 2 and 3. Beat 2 should be slightly emphasized and beat 3 quite light. That way the triplet is better highlighted.

Ah that's a great point! I will definitely pratice that to give it a more "ONE two three" feel. I'm limited in that aspect to the touch sensitivity of this piano, however...which isn't great. I should be able to make it sound better though. And you really don't hear anything off with the triplets? I was reading that the first note of a triplet should stand out so I was going to try that also.

As far as tempo goes, you are right. This is about as fast as I can play it at the moment...but I also gravitate towards the slower interpretations of this one (like Monica Hart's). Anyways...will keep practicing and thanks for listening!

Yes usually the first note of a group is slightly emphasized. In this case also when it is the first note on beat 1 which is the main beat, it should stand out. Now the composer already included natural emphasis on the beats through chords and other technique, so your additional dynamic emphasis should be balanced. You can play the melody alone to see how it should flow and then add the harmonic support on top. Good Luck.

Understood thank you for the help!

Exactly,