“This redistribution allows the middle voice to remain legato while the articulation in the top voice is observed.”
Submitted by Michael Clark
Published on 3/16/2020
“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
“The middle voice must be silently traded between the hands to maintain legato in all voices and clear pedaling.”
Submitted by Michael Clark
Published on 1/1/2020
“The bottom voice of the treble staff can be incorporated into the left hand at the end of m. 22 to avoid crowding.
Submitted by Michael Clark
Published on 1/1/2020
“Taking the E in the left hand allows a legato connection into the C in the top line.”
Submitted by Michael Clark
Published on 1/1/2020
“These redistributions allow for maximum legato connections in as many parts as possible.”
Submitted by Michael Clark
Published on 1/1/2020
“Splitting the middle voice between the hands in this way facilitates legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020
“It’s difficult to find a legato fingering for the alto line in the right hand while sustaining the C with finger 5. Fortunately the final C in the alto line is within reach of the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the B in the left hand improves the legato.”
Submitted by Michael Lenahan
Published on 1/9/2021
“This redistribution is designed to achieve maximum legato.”
Submitted by Michael Clark
Published on 1/1/2020
“Repeat provided fingering patterns through the measure.”
Submitted by Kevin Lee Sun
Published on 1/28/2022
“The C in m. 36 should be struck by the right hand and then silently transferred to the left hand, allowing seamless legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020
“Interchanging the middle voice between the hands in this way helps maintain legato in all voices with the minimal pedal that Danielpour requests.”
Submitted by Michael Clark
Published on 3/8/2023
“I sustain the lowest voice with the sostenuto pedal so my left hand can jump up to play the G and F-sharp of the middle voice, freeing my right hand to maintain a projected sound and legato connection in the upper voice with the minimal pedal that Danielpour requests. The fingerings in Italics are Danielpour’s.”
Submitted by Michael Clark
Published on 3/8/2023
“Interchanging the middle voice between the hands in this way helps maintain legato in all voices with the minimal pedal that Danielpour requests.”
Submitted by Michael Clark
Published on 3/8/2023
Submitted by Jake Holtzman
Published on 12/31/2021
Submitted by Josh Condon
Published on 6/15/2020
Submitted by Hannah Roberts
Published on 3/8/2023