I need a good fingering ...

[Contratrombone64]

Bach's sublime BWV 548b, Prelude and Fugue in E minor, the Wedge.

In particular, advice about bar 6's fingering is needed as I'm stumbling finding something comfortable, any ideas Lars, Matt, Frederik??

thanks

David

[Contratrombone64]

for some reason only known to my computer - it decided to duplicate below (most vexing). Damned gremlin.

[Contratrombone64]

Please help also with bars 5 to 13, score is attached for your help.

[Stoda]

Unfortunately I'm unable to edit this PDF and its too late to print and scan! I'll try to send my penciled in fingerings for m. 5-13 tommorrow..

As for bar 6... I'm inclined to take the B-A-G-A (1 on the last A will allow you to reach the C below with 4) in the alto with the left (the quarter note E is expectedly shortened in value anyhow).. as well as the alto F# on beat 1 of m.7. Make sure to take the alto G in the beginning of bar 6 with the right thumb and on the repeated soprano B make the switch to 2 (you'll likely have been hanging onto the B with 5 before this). On the held E in the soprano..substitute 5 for 2..which will allow you to take the final two notes of the bar with 1-4 and 2-5 (thank goodness the left hand has that F# covered right? ).

Anyhow...I hope to get it to you soon!

Stephen

[Soubasse]

That's pretty much exactly what I would have suggested except for the silent finger change from 2 to 5 on the sustained soprano E. I'd be inclined to keep the 5th finger on the E then jump to the next F# with 2nd finger thereby affecting a very slight articulation break just before the 2nd semiquaver (which is how I'd play all of those figures) but that's just my interpretation and as such, is far from infallible!

(Choice thread title David! )

[teddy]

Bach's sublime BWV 548b, Prelude and Fugue in E minor, the Wedge.

In particular, advice about bar 6's fingering is needed as I'm stumbling finding something comfortable, any ideas Lars, Matt, Frederik??

thanks

David

Wish I could help...

teddy

[Contratrombone64]

My solution to bar six, after playing this whole page for an hour today, is to play the G and E together in the left hand and then reintroduce the lower line in the right hand at the b semi quaver.

[Contratrombone64]

(Choice thread title David! )

Yes, I kind of thought someone with their mind in the gutter would have a snigger at my expense (and well deserved, too!). Funny, how if one talks about tricky fingerings or difficult fingerings anyone BUT a musician would collapse in laughter ...

[teddy]

I had this problem when sailing. You dare not talk about picking up bouys unless you were with similarly minded people.

teddy

[Krummhorn]

. . . (Choice thread title David! )

Yes, I kind of thought someone with their mind in the gutter would have a snigger at my expense . . . anyone BUT a musician would collapse in laughter ...

I had this problem when sailing. You dare not talk about picking up bouys unless you were with similarly minded people.
teddy

Thanks for the humor this morning ... you just made my day

[Stoda]

That's pretty much exactly what I would have suggested except for the silent finger change from 2 to 5 on the sustained soprano E. I'd be inclined to keep the 5th finger on the E then jump to the next F# with 2nd finger thereby affecting a very slight articulation break just before the 2nd semiquaver (which is how I'd play all of those figures) but that's just my interpretation and as such, is far from infallible!

(Choice thread title David! )

I see the merit in that interpretation

I like using the substitution so i have time to reach the alto B and C in the right hand without stumbling.

[Stoda]

Yes, taking the G of m.6 in the left is also a good option (if you practice that leap haha).

Here's what I worked out for m.5-13...hope its helpful!

Stephen

[Dorsetmike]

[tongue in cheek mode] another way would be to make a MIDI record of the awkward bits and play it back at the appropriate moment.[/tongue in cheek off]

I do that with the complete piece, never have any fingering problems, albeit the pieces do lack a bit of expression

[Contratrombone64]

Yes, taking the G of m.6 in the left is also a good option (if you practice that leap haha).

Here's what I worked out for m.5-13...hope its helpful!

Stephen

Hey Stephen, yes, very helpful and I notice you used the left hand in places where the right hand is suggested (I say this loosely as Bach had no interest in anything but polyphonic music and fingerings to him would have been a technical matter). I basically sorted this out with your suggestions.

It's a fabulous prelude which I love to bits, am enjoying the tedious process of learning it. I have to take things a couple of bars at a time slowly and slowly build up the tempo, but when the music is just so good it's not a problem.

I'd sure like to hear Matt's (Soubasse) or Lars' (Krummhorn) interpretation of this masterpiece one day (hint hint hint).

[wljmrbill]

I'll drink to that request David. I do like the suggested fingering that Stephen has worked out.. similiar to what I tried last night after reading this post.. Good Luck David