“I prioritize maintaining a legato fingering for the top line of the right-hand sixths. Taking the A-flat into the left in m. 26 facilitate better legato in the right hand.”
Submitted by Michael Clark
Published on 9/6/2023
“I divide the fourths between the hands in this way to maximize power and ensure accuracy by removing the need for the right hand to cross into a new position.”
Submitted by Michael Clark
Published on 1/5/2024
“Taking the Cs in the right hand saves the left hand from a few awkward position shifts.”
Submitted by Michael Clark
Published on 9/6/2023
“I share this figure between the hands as Price indicates until m. 67 which I prefer to play mostly in the right hand for greater control of sound and articulation. This also ensures the left hand G can be played with a strong finger.”
Submitted by Michael Clark
Published on 1/5/2024
“Taking the upper notes of the lower staff into the right hand relieves the left hand from needing to roll or stretch.”
Submitted by Michael Clark
Published on 9/5/2023
“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
“Taking the lowest line of the top staff into the left hand in m. 18 allows for smoother legato in all parts and better voicing of the melody.”
Submitted by Michael Clark
Published on 9/5/2023
“These fingerings are designed to maximize legato within this chorale texture. I redistribute the top notes of the large chords in mm. 28–29 where possible to allow all the notes to sound simultaneously, thus facilitating clearer pedaling.”
Submitted by Michael Clark
Published on 9/5/2023
“Taking these three notes with the left hand allows the right hand to reset its position more easily.”
Submitted by Michael Clark
Published on 9/5/2023
“Dividing this passage between the hands adds security and visual appeal to the ending of this set.”
Submitted by Michael Clark
Published on 9/5/2023
“I achieve better evenness and clarity when I divide the fourths between the hands in m. 35. Taking the lower note of the top staff into the left hand in mm. 37–39 allows me to sustain everything without excess stretching.”
Submitted by Michael Clark
Published on 1/5/2024
“I eliminate the final position shift by taking the D in the right hand. This improves security for this climactic conclusion.”
Submitted by Michael Clark
Published on 1/5/2024
“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
“Play the F-sharps as an octave in the right hand gives the left hand extra time to shift to its new position.”
Submitted by Michael Clark
Published on 9/12/2023
“The left hand can easily reach some of the lower notes in the top staff, requiring less shifting in the right. At the second ending, I find it more natural to continue the arpeggio all the way up in the left hand.”
Submitted by Michael Clark
Published on 9/12/2023
“I take the F-sharps at the end of m. 51 as an octave to allow the left hand plenty of time to shift. The redistributions in m. 52 allow each hand to maintain the same position.”
Submitted by Michael Clark
Published on 9/12/2023
“Taking the top of the gesture in the right prevents the left hand from crossing into another position.”
Submitted by Michael Clark
Published on 9/12/2023