“In mm 127–8 of the lyrical Cante Jondo middle section, the LH accompaniment reach is large for small-handed people (the only passage in this section like this), so I play the right-hand melody with my fifth finger and take the alternating E and G sharp of left left hand with my right hand, and cross my left hand over to only play the accompaniment F sharp. Voiced properly, no one will ever know the difference.”
Submitted by James Palmer
Published on 8/27/2021
“The LH grace notes/mordant is super awkward as written, but falls nicely between the hands if one takes the first note in the left-hand thumb and the next in the right-hand thumb.”
Submitted by James Palmer
Published on 8/27/2021
“I take the C on the second eighth of each measure with the left hand since the LH is already there and it gives the right hand time to smoothly jump down and pick it up form there. If it is phrased well, no one will ever know the difference and one can avoid gaps that disrupt the flow of this cute ending.”
Submitted by James Palmer
Published on 8/27/2021
Submitted by Michael Clark
Published on 1/27/2020
Submitted by Michael Clark
Published on 1/27/2020
Submitted by Michael Clark
Published on 1/27/2020
“I prefer keeping three voices in the right hand for most of this passage to allow increased freedom of fingering in the left hand.”
Submitted by Michael Clark
Published on 1/27/2020
“Taking the tenor line in the left hand from the very first notes assists the right hand in sustaining the alto line comfortably for its full value.”
Submitted by Michael Clark
Published on 1/27/2020
“This fingering allows the bass E to sustain even if the upper voices are played legato.”
Submitted by Michael Clark
Published on 1/27/2020
“This redistribution helps the right hand avoid changing positions or crossing over with 2.”
Submitted by Michael Clark
Published on 1/27/2020
“Taking the B-flat in the right hand relieves the left hand from navigating either a leap or a stretch of a sixth into the remaining sixteenth notes, which I find unreliable at quick tempo.”
Submitted by Michael Clark
Published on 1/27/2020
“Taking the marked notes in the left hand allows the middle voice to be played legato without stretching.”
Submitted by Michael Clark
Published on 1/1/2020
“Barber’s original note distribution and pedaling prevents the tenor F-flat from connecting to the E-flat. This fingering allows the right-hand thumb to sustain the tenor line. I take an extra pedal change on the final E-flat in the bass staff while keeping all tied notes depressed.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the last note of the grace-note run in the right hand allows slightly more time for the left hand to move to the following chord an octave lower.”
Submitted by Michael Clark
Published on 2/15/2020
“Playing the top note of the sixths with the right hand eliminates the stretch and allows greater control of the various articulations.”
Submitted by Michael Clark
Published on 1/1/2020
Right hand in red, left hand in blue:
“I find this extremely awkward passage is easier with the hands mostly reversed. The crowding toward the end of the passage is alleviated somewhat by taking the bottom octave of the top staff in the left hand.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Bartók’s stems suggest alternating hands each measure but this distribution facilitates a more tonally consistent and rhythmic performance.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“This redistribution allows each hand at least one beat of rest to prepare for the next position.”
Submitted by Michael Clark
Published on 1/1/2020