Submitted by Timothy Jones

Published on 10/5/2023

“This fingering allows for a break in the slur between mm. 5 and 6. It should not sound like the figure is being slurred over the bar.”

Submitted by Timothy Jones

Published on 10/5/2023

“Using this fingering allows for the break of the slur over the bar line, which in turn allows the singer to prepare for the major sixth ascending leap to their higher register and place the downbeat.”

Submitted by Timothy Jones

Published on 10/5/2023

“Here are fingering options for both m. 16 and m. 17:

M. 16: Using the same fingering for all of the 4ths, specifically with LH 1 and 4, allows for a resonant, bell-like sound that differs from any sound created with the right hand (perhaps it has to the with the placement of the thumb).
M. 17: Although uncomfortable at first, this allows for proper and organic execution of the tricky two note slur.”

Submitted by TImothy Jones

Published on 10/5/2023

“This fingering allows for the hands to keep grounded in the keys at all times, thereby preventing these chords from sounding like a portato articulation vs the legato that is written. If unlear, the LH is essentially switching fingers, using the note G as a pivot between the two chords.”

Submitted by Timothy Jones

Published on October 5, 2023