“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
Submitted by Michael Clark
Published on 1/27/2020
Submitted by Michael Clark
Published on 1/27/2020
“This fingering allows the bass E to sustain even if the upper voices are played legato.”
Submitted by Michael Clark
Published on 1/27/2020
“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
“Playing the top note of the sixths with the right hand eliminates the stretch and allows greater control of the various articulations.”
Submitted by Michael Clark
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
“This hand distribution helps in observing Bartók’s articulation markings.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the G-flat in the right hand facilitates legato in the bass line.”
Submitted by Michael Clark
Published on 1/13/2022
“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
“With the left hand's help, legato in all voices is possible.”
Submitted by Michael Clark
Published on 4/18/2020
“Taking the grace notes in the left hand facilitates a smooth transition between registers.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“Splitting the octaves this way facilitates a legato connection.”
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 arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022
“Taking the arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022