“Dividing the theme between the hands in this way facilitates the sharp accents Copland desires.”
Submitted by Michael Clark
Published on 1/1/2020
“Switching the E to the right hand eliminates a stretched position in the left hand. More compact positions allow a more forceful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the A in the left hand helps the right hand hold the tied notes without stretching.”
Submitted by Michael Clark
Published on 1/1/2020
“I prefer to take the A with the left hand, though in the follow measure I play the B and D with the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“When the top staff has rests, I split the notes on the lower staff between the hands.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the C-sharps in the right hand eliminates a stretch in the left hand. More compact positions allow a more forceful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the C-sharp in the left hand reduces the stretch from a tenth to an augmented octave.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering maximizes power by playing the low C-sharp with the thumb. This creates a leap to the remainder of the final LH chord which is facilitated by the RH taking the LH chord’s top C-sharp.”
Submitted by Michael Clark
Published on 1/1/2020
“The A-flat and C-flat are within the hand position of the held F octave in the right hand, so it’s much less crowded to simply take these notes in the right hand and finish the gesture with the left.”
Submitted by Michael Clark
Published on 1/1/2020
“I like a more balanced feeling between the hands where possible.”
Submitted by Michael Clark
Published on 1/1/2020
“I prefer to divide the notes more evenly between the hands mm. 50 and 52. Taking the C in the right hand in m. 56 is more legato.”
Submitted by Michael Clark
Published on 1/1/2020
“I find that I can play the third at maximum volume more securely with two hands.”
Submitted by Michael Clark
Published on 1/1/2020
“No need to leap when the D-flat is easily within the right hand’s reach.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the F in the right hand allows the left-hand arpeggio to follow the same fingering pattern as the pervious one and gives more control of the timing.”
Submitted by Michael Clark
Published on 1/1/2020
“The last two note of the arpeggio are within the right hand’s current position.”
Submitted by Michael Clark
Published on 1/1/2020
“The A-flat in m. 217 is struck by the right hand, then silently transferred to the left-hand thumb so that right can start the new line. The last A-flat in m. 219 is in the right hand’s current position, and this line continues to the right hand in the following measure anyway.”
Submitted by Michael Clark
Published on 1/1/2020
“The C in m. 36 should be struck by the right hand and then silently transferred to the left hand, allowing seamless legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020
“The right hand doesn’t need to stretch to reach this chord or roll it when the bottom note is within easy reach of the left hand.”
Submitted by Michael Clark
Published on 3/17/20