Ghost (optional) notes and fingering considerations

[1piano4joe]

Hi all,

I'm referring here to when the same note appears in both staffs and there may or may not be parenthesis depending on the editor. I don't know what this is called. Is there a name for this?

So, my question is if I am going to play the note(s) with say the right hand and not the left, then why do I have to finger the left hand note(s) (and the next) as if I played that note? Editor's seem to do this.

Example, Bach Invention #1, measure 13, last 16th note of beat 2 has an "e" in both hands. The editor has this note being played with the thumb of both hands and a parenthesis around the left hand thumb. The next left hand note, on beat 3, starts with the 3rd finger.

If I'm treating that left hand note "e" as a "ghost" note and as a 16th rest instead then why can't I just shift my hand and start beat 3 with my 2nd finger. This make a 21 finger crossing instead of a 31 which I discovered I prefer. This also coincides with my left hand fingering choice for measure 12 which I play with 2123 4231 2123 4231.

This may not be the best example but I am curious about this in general, Joe.

[quantum]

The pianist has a choice of which hand to play the note, and the editor may just be including both fingerings. 

In the Bach example you gave, one may also separate the hands on a two manual harpsichord or organ.  In which case, one would play the E in both hands, thus maintaining line in both parts, but do so on separate manuals. 

[lelle]

I agree with quantum.

Sometimes, fingering it as if you had played the omitted note might be th most convenient or idiomatic fingering in any case.

And it's also perfectly fine if you change the editor's fingering into something you find more convenient. I do that all the time. The most important thing is that you feel as free as possible to make the musical statement you want to make.

[j_tour]

I agree with quantum.

I agree with lelle who agrees with quantum!

I'd never even considered the dual manual explanation before....it just seemed like a convenient kind of heuristic for the reader/student. 

You know, either/or, or an indication that a particular note is important. 

Here's another good example I've seen written so many different ways:  the charming little E maj fugue from WTC1, at the second entry.

Yeah, I guess you could play the note (in this case, B) with either hand, but I think it's more a discretionary option left up to the performer.  (Yes, I prefer to let the RH take over the subject and let the LH be silent for that sixteenth note, but it's easy to forget, so either way, one hand will take the first note of the subject!)