Submitted by Osip Nikiforov
Published on 3/15/2020
Submitted by Osip Nikiforov
Published on 3/15/2020
“Taking the E with the left hand helps me get the fingers I want on the sixth in the next measure less clumsily. I pedal along with the melody line.”
Submitted by Michael Clark
Published on 3/16/2020
“I find this redistribution more reliable for controlling the leggiermente sound of this challenging passage so close to the beginning of the piece.”
Submitted by Michael Clark with thanks to Logan Skelton
Published on 1/1/2020
“Switching to the right hand one note early makes this moment less crowded between the hands.”
Submitted by Michael Clark with thanks to Craig Nies
Published on 1/1/2020
“I find this fingering more reliable.”
Submitted by Michael Clark
Published on 1/1/2020
“Splitting the octaves this way facilitates a legato connection.”
Submitted by Michael Clark
Published on 1/1/2020
“Splitting the middle voice between the hands in this way facilitates legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020
“It’s difficult to find a legato fingering for the alto line in the right hand while sustaining the C with finger 5. Fortunately the final C in the alto line is within reach of the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the E-flat into the left-hand helps unclutter this crowded moment.”
Submitted by Michael Clark
Published on 5/24/2023
“Taking the E-flats in the right hand allows the left hand to stay in a low position and avoid crowding the right-hand.”
Submitted by Michael Clark
Published on 5/24/2023
“Ben-Haim’s original note distribution creates awkward crowding between the hands. I use this distribution and position the right hand above the left hand.”
Submitted by Michael Clark
Published on 5/24/2023
“The right-hand thumb is already position on the E-flat. This fingering reduces position shifts and allows for smaller hands to play all the notes of the final chord simultaneously.”
Submitted by Michael Clark
Published on 5/24/2023
“Redividing the middle notes alleviates the stretched position and eliminates crowding.”
Submitted by Michael Clark
Published on 5/24/2023
“This leap is easier as just a tenth with the left hand taking the E-flat.”
Submitted by Michael Clark
Published on 3/16/2020
“Taking the F in the right hand allows the bass to sustain while I pedal with the right-hand line.”
Submitted by Michael Clark
Published on 3/16/2020
“The top notes of some of the large chords in the left hand are within reach of the right-hand thumb, eliminating the needs for rolls on those chords.”
Submitted by Michael Clark
Published on 3/16/2020
“The right-hand thumb is already playing E-sharp, so there’s no need to stretch with the left hand or let go of the bass notes. With this fingering, I can change the pedal on the final chord without losing the bass.”
Submitted by Michael Clark
Published on 3/16/2020