Practice Journal – Second Journey with Early Organ Music Recercar con obligo

After the initial sight-reading and getting familiar with the notes on the first page, the next step in learning Recercar con obligo by Girolamo Frescobaldi was refining the fingering. At this stage, it’s not just about reaching the keys, every fingering choice has to support the articulation and the correct note values.

I began experimenting more carefully, testing different fingerings phrase by phrase to see which allowed the lines to flow naturally. Some passages initially felt awkward or disconnected, but by adjusting the fingering, sometimes sharing notes between hands, the musical line became clearer and smoother. I have to test several times on each different approaches to find a best fit.

This process also helped me pay closer attention to the subtle details of articulation. In early keyboard music, even a slight change in finger or hand placement can affect the clarity of a voice and the timing of notes. Slowly, the music began to feel less like a collection of notes and more like living, singing lines that respond to each other.

Refining fingering is more than just solving a puzzle. A fingering that worked in earlier practice sessions may no longer feel comfortable or musical, so I have to test several options until it truly settles. Each small adjustment brings greater technical ease, clearer voices, and a more faithful expression of the composer’s intent, gradually shaping the piece into a performance-ready form.

Unlike many classical pieces, where fingering and articulation can often be refined relatively quickly, early Baroque organ music feels far more time-consuming. The contrapuntal lines, unusual hand crossings, and subtle note values demand careful attention to every detail. After about an hour solid testing and adjustment, the first page is in the right shape.