“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
“Playing the melody notes while sustaining the third below all in the right hand requires an uncomfortable stretch. The left hand can easily help out, freeing the right hand to use an optimal fingering.”
Submitted by Michael Clark
Published on 1/6/2024
“Sharing the tenor voice between the thumbs in this way allows it continue without break, even while changing the pedal with each bass note.”
Submitted by Michael Clark
Published on 1/6/2024
“Playing the tenor F with the right-hand thumb allows the line to continue without break, even as I change the pedal with the grace note in the bass.”
Submitted by Michael Clark
Published on 1/6/2024
“The left hand can assist to avoid awkward crossings.”
Submitted by Michael Clark
Published on 9/1/2023
“Taking the alto voice in the left hand allows better control of the sound of the melody.”
Submitted by Michael Clark
Published on 9/2/2023
“Taking this alto note in the left hand allows the right hand to better align behind the melody notes, promoting a more singing tone.”
Submitted by Michael Clark
Published on 9/2/2023