Again, during book 2 #24:
-should Bach be fingered as organ music, with finger sustain requiring continuous finder-substitution? (I say YES but who the eff am I?)
-can I 'invent' a memorization technique where you close your eyes then reopen them at intervals, letting the motor memory "flywheel" over the spot where the visual cue is made unavailable?
-is it sensible to claim that a melody could be as expressively and magically performed using a single finger on alternate hands? (this from the very difficult division of the octave leaps in this fugue when countersubjects are occurring above and below the subject!!) and might this be a consciousness-raising exercise which would happily explore the inequalities of the left and right sides and help them compensate? (Liszt's "Un Sospiro" would bear out this eccentric-seeming claim) i.e. play scales with alternate thumbs? third fingers?
-could I assemble all my random knowledge and experience and develop a beginners' approach where the kids would have fun and really excel? wow, what a thought. I think that's EEEEGGGGGOOOOO talking. OK, stalled long enough! off to take initial mechanical readthrough of C# minor book 1 (I analysed it in counterpoint classes in the 70's).
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