1 note - 2 fingers

[rmc7777]

Hello,

In Bach's two-part invention in C major (BMV 772) bar 13, one of the notes - E natural - is shared by both hands.  That is, the right-hand thumb could play it, the left-hand thumb could play it, or both could strike the key simultaneously.  This situation occurs in many pieces - Chopin, Rachmaninoff, Granados, etc.  So the question is:  Are there any general rules or guidelines for choosing how to play a note that is shared between the hands?  Should you always use the right hand?  The left hand?  Play the note with fingers in both hands?  I believe it's probably more involved than this.  Perhaps you decide based on the melodic flow or harmonic progressions in the piece.  Or maybe you need to consider the succeeding notes and determine which hand or finger placement will help play them.

If anyone has insight on this I would greatly appreciate it.  I would imagine other pianists come across this situation as well.

[Pianorak]

<<. Or maybe you need to consider the succeeding notes and determine which hand or finger placement will help play them. >>

Indeed, that's how I see it. For instance, in Bach's Inventio 8, bar 3, the initial F is shared by both hands. My preferred finger placement: left index finger on E followed by the thumb on D etc. Hence, my right hand plays the initial F.
That said, hand and finger placement varies from person to person. Horses for courses?
Sorry, I am unable to comment on general rules or guidelines, but would be intrigued to know if there are any.

[djar]

I did read some rules recently regarding fingering:  Something like, choose fingering for both ease of playing and for effect;  but never choose fingering for ease of playing over effect.   I am trying to remember the piece you are talking about without seeing the actual music.  I believe there is a contrapuntal line where the two lines are momentarily juxtaposed, right?  Even in counterpoint, I try to find the line that I want to sing the melody, rather than just letting them fight it out simultaneously.  Sometimes they take turns in rapid sequence, first one, then the other having the melody, but I always try to have one voiced stronger than the other at any given time.  It seems to me that the stronger line would get dibs on the thumb in order to not disturb the melodic flow.

[rmc7777]

<< Something like, choose fingering for both ease of playing and for effect;  but never choose fingering for ease of playing over effect.   >>

That is a very interesting observation.  This could be a useful guideline when trying to choose one fingering over another.  In one of Beethoven's sonatas, Shanker (the editor) proposes some fingerings that are really awkward, at first anyway, but give just the right effect - i.e. smooth legato.  So when a note is shared in both hands it might be worthwhile to consider what effect you want from the whole passage.

[djar]

When I got back to my studio after posting earlier (without having actually looked at the music) I tried the Bach Invention in question and found myself automatically and quite naturally using both thumbs on the note in question!  

[rmc7777]

Yes, that is exactly what I did when I first started playing the piece (take the note with both thumbs).  However, now that I've been working on it for several weeks, I decided to take the E natural with the thumb in the right hand only and prepare the third finger in the left hand for the next C natural.  This seems to work very well.  There seems to be more continuity in the right hand with this approach.  

Also, since posting this message, I've come across numerous examples of this issue (same note - both hands) and always think about the Piano Forum!  Instead of blindly playing through these notes, I now give more thought to the melody line, harmony, and so forth and try to figure out which hand makes more sense.