“In mm 127–8 of the lyrical Cante Jondo middle section, the LH accompaniment reach is large for small-handed people (the only passage in this section like this), so I play the right-hand melody with my fifth finger and take the alternating E and G sharp of left left hand with my right hand, and cross my left hand over to only play the accompaniment F sharp. Voiced properly, no one will ever know the difference.”
Submitted by James Palmer
Published on 8/27/2021
“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
“These redistributions eliminate stretches beyond an octave which are risky at such a fast tempo.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Playing the final B of m. 17 with the left hand facilitates a smoother delivery of the top line, resulting in more consistent voicing. Taking the bottom of the E octave in the left hand eliminates a very awkward leap at a fast tempo.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“Switching the right and left hand seconds in m. 48 slightly reduces the stretch in the left hand (every little bit helps in this piece) and establishes the new pattern in the left hand.”
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
“The right-hand thumb is already position on the E-flat. This fingering reduces position shifts and allows for smaller hands to play all the notes of the final chord simultaneously.”
Submitted by Michael Clark
Published on 5/24/2023
“Redividing the middle notes alleviates the stretched position and eliminates crowding.”
Submitted by Michael Clark
Published on 5/24/2023
“The top notes of some of the large chords in the left hand are within reach of the right-hand thumb, eliminating the needs for rolls on those chords.”
Submitted by Michael Clark
Published on 3/16/2020
“The right-hand thumb is already playing E-sharp, so there’s no need to stretch with the left hand or let go of the bass notes. With this fingering, I can change the pedal on the final chord without losing the bass.”
Submitted by Michael Clark
Published on 3/16/2020
Submitted by Noah Sonderling
Published on 10/4/2020
“Letting the left hand help with the lower note on the treble staff helps reduce the number of position shifts in the right hand.”
Submitted by Michael Clark
Published on 3/17/2020
“Letting the left hand help with the lower note on the treble staff helps reduce the number of position shifts in the right hand.”
Submitted by Michael Clark
Published on 3/17/2020
“Letting the left hand help with the lower note on the treble staff reduces the number of position shifts in the right hand.”
Submitted by Michael Clark
Published on 3/17/2020
“Letting the left hand help with the lower note on the treble staff helps reduce the number of position shifts in the right hand.”
Submitted by Michael Clark
Published on 3/17/2020
“Take the upper note of the tenths in the right hand.”
Submitted by Michael Lenahan
Published on 1/9/2021
“Taking some of the bottom notes of the treble staff into the left hand allows the right hand to remain in a more compact position.”
Submitted by Michael Clark
Published on 1/1/2020
“Stretching to the ninth might be uncomfortable for some. Taking the G-sharp in the right hand relieves the stretch and allows a legato connection.”
Submitted by Michael Clark
Published on 1/1/2020