“This fingering allows me to sustain the bass A longer and makes it possible to sustain the F-sharp for the right melody after it has been restruck for the rising accompaniment line.”
Submit by Michael Clark
Published on 9/12/2023
“I use this fingering to help resolve a pedaling issue. I prefer to change the pedal after the right hand plays A, so I sustain the bass F-sharp through the pedal change. This leaves very little time for a smooth shift to the chord. Taking the B-sharp in the right hand makes the left-hand’s shift more manageable and graceful.”
Submitted by Michael Clark
Published on 9/12/2023
“Play the F-sharps as an octave in the right hand gives the left hand extra time to shift to its new position.”
Submitted by Michael Clark
Published on 9/12/2023
“The left hand can easily reach some of the lower notes in the top staff, requiring less shifting in the right. At the second ending, I find it more natural to continue the arpeggio all the way up in the left hand.”
Submitted by Michael Clark
Published on 9/12/2023
“I take the F-sharps at the end of m. 51 as an octave to allow the left hand plenty of time to shift. The redistributions in m. 52 allow each hand to maintain the same position.”
Submitted by Michael Clark
Published on 9/12/2023
“Taking the top of the gesture in the right prevents the left hand from crossing into another position.”
Submitted by Michael Clark
Published on 9/12/2023