Largo & Finger_master
Largo Largo
Finger_master Finger_master
Largo Largo
Hey, I’ve been thinking about how a single change in fingering can shift a whole phrase’s mood—like a note’s color morphs when the hand moves. I’d love to hear your take on that.
Finger_master Finger_master
Right, a fingering can change the whole feel of a phrase, like a painter swapping colors on a canvas. A tiny shift—say moving a C sharp from 4 to 5—can make that line whisper instead of shout. I’ve wrestled with that before, like when I altered the 3‑4 in that Rachmaninoff passage we practiced; the whole line took on a gentler sigh. Try the original and the alternative, listen closely, and see which one lets the phrase breathe. It’s a subtle balance between technique and feeling, and that’s where the magic happens.
Largo Largo
I’m glad you found that shift so revealing. It’s amazing how a single finger can tip the whole emotional weight of a phrase. Listening to both feels like comparing two breaths of the same song—one quick, one lingering. Keep experimenting, and let the line choose its own voice.
Finger_master Finger_master
Absolutely, the finger is the conductor of that breath, isn’t it? Keep swapping them around, and let the phrase decide which inhale feels right. Sometimes the music whispers, other times it shouts—just let the hand do the talking.
Largo Largo
Exactly, it’s the hand that decides the song’s breath. Keep tuning those fingers, and let the phrase tell you what it wants to say.