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 B in the right hand allows the bass note to be sustained slightly longer.”
Submitted by Michael Clark
Published on 1/9/2022
Submitted by Melinda Smashey Jones
Published on 12/29/2020
“Taking the C and B with the right hand allows the left hand to sustain the bass note for its full value.”
Submitted by Michael Clark
Published on 10/14/2023
“This is my solution to keep the long notes sustaining without blurring the pedal. I finger pedal the bass C for the last two beats of m. 6”
Submitted by Michael Clark
Published on 9/6/2023
“The right hand is already situated with the thumb on the G, so it can easily take up the eighth-note line there. This also facilitates finger pedaling the E-flat bass note if desired.”
Submitted by Michael Clark
Published on 9/6/2023
“The right hand is already situated with the thumb on the G, so it can easily take up the eighth-note line there. This also facilitates finger pedaling the E-flat bass note if desired.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking the D with the right-hand thumb allows me to sustain the bass note G a little longer.”
Submitted by Michael Clark
Published on 9/6/2023
“These fingerings are designed to maximize legato within this chorale texture. I take the allow line back into the right hand in mm. 14–15 to allow the left hand to sustain the bass note through pedal changes.”
Submitted by Michael Clark
Published on 9/5/2023
“This fingering allows me to sustain the bass A longer and makes it possible to sustain the F-sharp for the right melody after it has been restruck for the rising accompaniment line.”
Submit by Michael Clark
Published on 9/12/2023
“I use this fingering to help resolve a pedaling issue. I prefer to change the pedal after the right hand plays A, so I sustain the bass F-sharp through the pedal change. This leaves very little time for a smooth shift to the chord. Taking the B-sharp in the right hand makes the left-hand’s shift more manageable and graceful.”
Submitted by Michael Clark
Published on 9/12/2023
“I find this distribution of the inner voice to be the most effective in maintain legato and sustaining the bass note where appropriate.”
Submitted by Michael Clark
Published on 9/7/2023
“Taking the tenor D with the right hand allows me to sustain the bass note while changing the pedal.”
Submitted by Michael Clark
Published on 1/5/2024
Submitted by Michael Lenahan
Published on 5/1/2020
“I use the sostenuto pedal to sustain the low F without blurring the grace notes in the damper pedal. Dividing the grace notes between the hands results in a powerful and secure delivery.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020