“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
“Taking the E in the right hand assists with maintaining legato in all lines.”
Submitted by Michael Clark
Published on 10/14/2023
“This fingering minimizes the shifts between in each chord in this quick and thickly written passage.”
Submitted by Michael Clark
Published on 10/14/2023
“Taking the first notes of the lower voices in the right hand facilitates a smoother legato in those lines.”
Submitted by Michael Clark
Published on 9/5/2023
“This fingering approach prioritizes a sustained legato melody by transferring some of the alto notes to the left hand.”
Submitted by Michael Clark
Published on 9/6/2023
“I take some of the alto notes into the left hand when they get out of comfortable reach of the soprano line.”
Submitted by Michael Clark
Published on 9/6/2023
“Taking a few of the left-hand notes in the right hand helps these quick-moving chords to feel more secure.”
Submitted by Michael Clark
Published on 9/6/2023
“I find playing the final chord with two thumbs provides both the greatest security and the most brilliant sound for this climactic moment.”
Submitted by Michael Clark
Published on 9/6/2023
“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
“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