“Martinu’s stems suggest playing the bass clef A in the right hand in m. 16, but the left-hand thumb is already on the A, so I take that whole triad in the left hand. I follow Martinu’s stems for the rest of the passage.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking the middle D in the left hand eliminates a position shift.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking the top of the scale in the right hand gives the left hand extra time to makes its shift.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking the top of the scale in the right hand gives the left hand extra time to makes its shift. Starting the A major arpeggio in the left hand allows right hand to be in position to start the sixths.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking these dyads in the right hand eliminates several large leaps.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking these notes in the left hand facilitates a smooth two-note slur and requires less moving around.”
Submitted by Michael Clark
Published on 3/12/2020
“These redistributions are designed to eliminate as many unnecessary position shifts as possible.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking these octaves in the left hand keeps the right hand from leaping around.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking these dyads in the right hand saves the left hand from several large leaps.”
Submitted by Michael Clark
Published on 3/12/2020
“Most editions place the 2/4 bar on the next page. Grabbing the B in the right hand allows just enough time for the page turn.”
Submitted by Michael Clark
Published on 1/6/2020
“Taking the C in the left hand helps the top line stay legato without unreasonable stretching.”
Submitted by Michael Clark
Published on 4/4/2020
“Taking the A in the left hand allows a simpler fingering in the top line.”
Submitted by Michael Clark
Published on 4/4/2020
“The 4/4 bar starts a new page in most editions, so taking the B in the right hand gives enough time for the left hand to turn the page. Grabbing the G-flat with the left hand eliminates an awkward stretch in the right hand. I play the final G with the left hand as Poulenc suggests.”
Submitted by Michael Clark
Published on 1/6/2020
“Finishing with an octave in the right hand is more secure.”
Submitted by Michael Clark
Published on 1/6/2020
“I can make the middle line more legato with this fingering (and avoid a stretch).”
Submitted by Michael Clark
Published on 4/4/2020
“Taking these two notes in the right hand allows the left hand to easily prepare for the next bass note.”
Submitted by Michael Clark
Published on 4/4/2020
“Taking some of the off-beat chords in the left hand allows the melody with be played with a more legato fingering. It also prevents stretches that may be uncomfortable for some hands.”
Submitted by Michael Clark
Published on 4/4/2020
“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