“Taking the alto notes in the left hand allows the right hand to use stronger fingers on the triplet.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering minimizes position shifts and looks nice.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the D in the left hand eliminates a leap out of the quick triplets.”
Submitted by Michael Clark
Published on 1/1/2020
“I find it easier to start passages like this with an octave in the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“The left hand is unencumbered with double notes and can assist the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“No need to stress over these huge leaps when the F-sharps are within easy reach of the left hand. The configuration of the double notes in this passage require a slightly different distribution than earlier in the piece.”
Submitted by Michael Clark
Published on 1/1/2020
“The left hand accompaniment is already plenty wide. I find taking an extra note in the right hand is a relief.”
Submitted by Michael Clark
Published on 1/1/2020
“Dividing the theme between the hands in this way facilitates the sharp accents Copland desires.”
Submitted by Michael Clark
Published on 1/1/2020
“Switching the E to the right hand eliminates a stretched position in the left hand. More compact positions allow a more forceful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the A in the left hand helps the right hand hold the tied notes without stretching.”
Submitted by Michael Clark
Published on 1/1/2020
“I prefer to take the A with the left hand, though in the follow measure I play the B and D with the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“When the top staff has rests, I split the notes on the lower staff between the hands.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the C-sharps in the right hand eliminates a stretch in the left hand. More compact positions allow a more forceful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the C-sharp in the left hand reduces the stretch from a tenth to an augmented octave.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering maximizes power by playing the low C-sharp with the thumb. This creates a leap to the remainder of the final LH chord which is facilitated by the RH taking the LH chord’s top C-sharp.”
Submitted by Michael Clark
Published on 1/1/2020
“The A-flat and C-flat are within the hand position of the held F octave in the right hand, so it’s much less crowded to simply take these notes in the right hand and finish the gesture with the left.”
Submitted by Michael Clark
Published on 1/1/2020
“I like a more balanced feeling between the hands where possible.”
Submitted by Michael Clark
Published on 1/1/2020
“I prefer to divide the notes more evenly between the hands mm. 50 and 52. Taking the C in the right hand in m. 56 is more legato.”
Submitted by Michael Clark
Published on 1/1/2020