“Switching the sixteenth notes to the left hand one note earlier allows the fingering patterns to flow more naturally in both hands. The suggested fingering for the grace notes in m. 31 uses stronger fingers to achieve the ‘molto sonoro’ forte tone Barber desires.”
Submitted by Michael Clark
Published on 3/18/2020
“Splitting between hands like this allows the rolled notes to played much more fluidly and in a faster motion.”
Submitted by Wade Troyer
Published on 9/1/2023
“The hand crossing allows you to play pianissimo much easier than try to playing the 2nds as written with one hand.”
Submitted by Wade Troyer
Published on 9/12/2023
“Switching the C to the left hand allows for a more evenly divided roll and requires the right hand to move less from its previous position.”
Submitted by Michael Clark
Published on 3/18/2020
LH = blue
RH = red
“The redistribution of notes allows the downbeat to played easier in measure 15, though this takes away the ‘struggle’ or forced broadening that Barber intended. That can still come across though with this restructuring.”
Submitted by Wade Troyer
Published on 9/1/2023
“Taking the marked notes in the left hand allows the middle voice to be played legato without stretching.”
Submitted by Michael Clark
Published on 1/1/2020
“Barber’s original note distribution and pedaling prevents the tenor F-flat from connecting to the E-flat. This fingering allows the right-hand thumb to sustain the tenor line. I take an extra pedal change on the final E-flat in the bass staff while keeping all tied notes depressed.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the last note of the grace-note run in the right hand allows slightly more time for the left hand to move to the following chord an octave lower.”
Submitted by Michael Clark
Published on 2/15/2020