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