“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
“Transferring the E-flat and G-flat silently into the left hand frees the right hand for a more melodic performance of the turn with stronger fingers.”
Submitted by Michael Clark
Published on 4/18/2020
“Silently transferring the top note of the fifth into the left hand allows it to be held for its full duration.”
Submitted by Michael Clark
Published on 1/1/2020
“The A-flat in m. 217 is struck by the right hand, then silently transferred to the left-hand thumb so that right can start the new line. The last A-flat in m. 219 is in the right hand’s current position, and this line continues to the right hand in the following measure anyway.”
Submitted by Michael Clark
Published on 1/1/2020
“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
“I take the lower C silently with my right hand thumb to faciliate a legato fingering for the G-A-G.”
Submitted by Michael Clark
Published on 9/2/2023
“Silently transferring the D-flat in m. 77 from the right hand to the left hand lets the chord sustain while allowing the right hand to position itself for what follows.”
Submitted by Michael Clark
Published on 10/4/20