“I have more control over the melody sound when I take the whole accompaniment in the left hand.”
Submitted by Michael Clark
Published on 2/15/2020
“Splitting the octaves between the hands improves legato. Some of the sixteenth-note figures are very awkward, so taking the occasional note in the left hand helps. Grabbing the last three notes before the right-hand leaps facilitates a secure shift.”
Submitted by Michael Clark
Published on 1/1/2020
“I like the legato I can produce with this fingering.”
Submitted by Michael Clark
Published on 1/1/2020
“I like to divide the work more evenly between the hands.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the first sixteenth note of each group in the left hand results in a more brilliant and secure performance.”
Submitted by Michael Clark with thanks to Mia Hynes
Published on 1/1/2020
“I appreciate the added security this fingering brings to the leap.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering improves legato by eliminating a leap to the sixth.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the G in the right hand allows the left hand to stay in one position for the octave.”
Submitted by Michael Clark
Published on 1/1/2020
“Playing the sixteenth notes that occur on the quarter beats with the right hand thumb helps to voice the "hidden" line in this compound melody. This redistribution is also designed to allow the right hand to remain in a relatively relaxed position when playing this passage at the indicated "Allegro" tempo. The performer should be careful to avoid emphasizing the left hand thumb in the same manner as the right hand or holding the thumb notes in either hand longer than the duration of a sixteenth note.”
Submitted by Jonathan Scofield
Published on 4/29/2020
“I’m more accurate when I let the left hand help with these quick shifts.”
Submitted by Michael Clark
Published on 3/22/2020
“The left hand is much closer to the E-flat than the right hand. I think an extra shift in the right hand is unnecessary.”
Submitted by Michael Clark
Published on 3/22/2020
“Reaching the C in the right hand is a nearly impossible stretch, but it fits into the left hand easily.”
Submitted by Michael Clark
Published on 3/22/2020
“Taking the Gs in the left hand in m. 28 allows the right hand to get into its next position early. Similarly, taking the C in the left hand in m. 30 makes the leap easier.”
Submitted by Michael Clark
Published on 3/26/2020
“I find taking a few of these notes in the right hand makes the left hand less awkward.”
Submitted by Michael Clark
Published on 3/26/2020
“Taking the B in the left hand prevents either an awkward stretch between 4 and 5 or a quick leap.”
Submitted by Michael Clark
Published on 3/26/2020
“Taking the Bs in the left hand in m. 19 helps reduce the number of wide positions in the right hand. Taking the C in m. 22 in the left hand gives the right hand extra time for its leap.”
Submitted by Michael Clark
Published on 3/26/2020
“Having released the lowest C, the left hand is now free to play the C of the alto line, freeing the right hand to shift positions.”
Submitted by Michael Clark
Published on 3/26/2020
“Taking this C as an octave in the left hand gives the right hand extra time for its leap.”
Submitted by Michael Clark
Published on 3/26/2020