“This fingering approach prioritizes a sustained legato melody by transferring some of the alto notes to the left hand.”
Submitted by Michael Clark
Published on 9/6/2023
“I take some of the alto notes into the left hand when they get out of comfortable reach of the soprano line.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking a few of the left-hand notes in the right hand helps these quick-moving chords to feel more secure.”
Submitted by Michael Clark
Published on 9/6/2023
“I find playing the final chord with two thumbs provides both the greatest security and the most brilliant sound for this climactic moment.”
Submitted by Michael Clark
Published on 9/6/2023
“This is my solution to keep the long notes sustaining without blurring the pedal. I finger pedal the bass C for the last two beats of m. 6”
Submitted by Michael Clark
Published on 9/6/2023
“The right hand is already situated with the thumb on the G, so it can easily take up the eighth-note line there. This also facilitates finger pedaling the E-flat bass note if desired.”
Submitted by Michael Clark
Published on 9/6/2023
“The right hand is already situated with the thumb on the G, so it can easily take up the eighth-note line there. This also facilitates finger pedaling the E-flat bass note if desired.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking the D with the right-hand thumb allows me to sustain the bass note G a little longer.”
Submitted by Michael Clark
Published on 9/6/2023
“I prioritize maintaining a legato fingering for the top line of the right-hand sixths. Taking the A-flat into the left in m. 26 facilitate better legato in the right hand.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking the Cs in the right hand saves the left hand from a few awkward position shifts.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking the upper notes of the lower staff into the right hand relieves the left hand from needing to roll or stretch.”
Submitted by Michael Clark
Published on 9/5/2023
“These fingerings are designed to maximize legato within this chorale texture. I take the allow line back into the right hand in mm. 14–15 to allow the left hand to sustain the bass note through pedal changes.”
Submitted by Michael Clark
Published on 9/5/2023
“Taking the lowest line of the top staff into the left hand in m. 18 allows for smoother legato in all parts and better voicing of the melody.”
Submitted by Michael Clark
Published on 9/5/2023
“These fingerings are designed to maximize legato within this chorale texture. I redistribute the top notes of the large chords in mm. 28–29 where possible to allow all the notes to sound simultaneously, thus facilitating clearer pedaling.”
Submitted by Michael Clark
Published on 9/5/2023
“Taking these three notes with the left hand allows the right hand to reset its position more easily.”
Submitted by Michael Clark
Published on 9/5/2023
“Dividing this passage between the hands adds security and visual appeal to the ending of this set.”
Submitted by Michael Clark
Published on 9/5/2023