How to decide to use which hand to play on which keyboard?

[wyzwinszh]

Hi,

I would like to know:

In the following case: why use R.H. to play on the Hauprwerk, L.H. to play on the Ruchpositif? (normally is R.H. on Ruchpositif, L.H. on Hauprwerk) Is it because of the register?

http://www.youtube.com/watch?v=Cas1jTPU7Cw

Thank you B-)

WYZ

[douçaine]

Well, not always. Hands don't have fixed positions on keyboards; often, I will play with both hands on one manual, or alternate between left high right low and right high left low, for instance. Willem van Twillert in this video is featuring a solo stop for use in the chorale melody; the reason he has his left hand on Rückpositiv is that the solo stop he wants is on the Rückpositiv. Often, a baroque composer will put the solo voice in the treble, but sometimes, he will put it in the tenor, where it takes on a very different quality, and leads to this position of the hands. Hope this answers your question.

[Havoc]

Registration can be a reason. You have to achieve the sound wanted by the composer. And as the ranks have been decided by the builder you as player should adapt to the situation. Can also be an issue of pre-set registration whan you play alone and don't have time to change it yourself. Or you can change manuals to achieve dynamics if you don't have a swell (or it doesn't do what you want). Or it can be a question of playability and getting your hands out of each others way.

[ClergetMusic]

I agree with the others. I generally don't have any specific places that each hand must be. I usually decide based on the register (compass and range of the part) and the registration (for example a solo/accompaniment). For solo/accompaniment, I will usually play the accompaniment part in the LH, and the solo in the RH. When I play trios, it gets a bit more complicated, but I usually go with whatever is comfortable for me.

[douçaine]

Unfortunately enough; at my school, on the practice organ I use most, I have to play a lot of trio sonata loud movements with right hand high. On the organ in the hall, I have to play the same movements with left hand high. Dupré wisely wrote that one should practice alternating as much as possible. There are certainly exceptions, though; for instance, if I'm wearing cuff-links, I need to choose very carefully which position will minimize the chance of tangling. Ultimately, a healthy dose of flexibility is required to successfully go from organ to organ seamlessly. Occasionally, it becomes a bit confusing.