“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