“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
“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
“Taking the F in the right hand allows the bass to sustain while I pedal with the right-hand line.”
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
“Taking these notes in the right hand helps me maintain legato in the melody while changing the pedal for the new C-sharp bass note.”
Submitted by Michael Clark
Published on 8/22/2022
“This fingering helps facilitate a clear counterpoint of the upward moving motif played before in the right hand without muddying the waters with the pedal.”
Submitted by Wade Troyer
Published on 12/14/2022
“Spacing the chord like this helps all the notes to sound at once and keeps that consistent texture without needing to roll or play the notes before or after the 3rd beat. Also, it allows the left hand to hold the low F# through the quick moving harmonies above it without muddying too much with the pedal.”
Submitted by Wade Troyer
Published on 9/1/2023
“Catching the A in left hand helps achieve a smoother bass line with less reliance on the pedal.”
Submitted by Wade Troyer
Published on 12/14/2022
“The constant, inner, scalar movement of 8th notes is difficult if playing between the hands as written. I enjoy the sound of this movement if using less pedal which necessitates more splitting and picking up notes between hands.”
Submitted by Wade Troyer
Published on 8/31/2023
“The constant, inner, scalar movement of 8th notes is difficult if playing between the hands as written. I enjoy the sound of this movement if using less pedal which necessitates more splitting and picking up notes between hands.”
Submitted by Wade Troyer
Published on 8/31/2023
“The constant, inner, scalar movement of 8th notes is difficult if playing between the hands as written. I enjoy the sound of this movement if using less pedal which necessitates more splitting and picking up notes between hands.”
Submitted by Wade Troyer
Published on 8/31/2023
“I prefer to take the B and B-sharp in the right hand to allow the bass notes to sustain through pedal changes.”
Submitted by Michael Clark
Published on 1/4/2022
“Taking these tenor notes in the right hand allows the bass note to be held for clearer pedaling.”
Submitted by Michael Clark
Published on 8/11/2021
“Taking these tenor notes in the right hand allows the bass note to be held for clearer pedaling.”
Submitted by Michael Clark
Published on 8/11/2021
“I can reach the B-flat on the downbeat of m. 44 with my right-hand thumb which eliminates the need to jump in the left hand and facilitates clearer pedaling. When the left hand has rests, it can play the melody notes, freeing the right hand for better control of the sixteenth notes.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the top notes of these large rolls in the right hand allows for the bass note to be held for a clearer pedal change.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the top notes of these large rolls in the right hand allows for the bass note to be held for a clearer pedal change.”
Submitted by Michael Clark
Published on 8/11/2021
“I think taking the B in right hand is preferable to striking the bass note early. This fingering, in which the notes can be struck simultaneously, facilitates a cleaner pedal change as well.”
Submitted by Michael Clark
Published on 4/4/2020