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I'm playing HWV 432 mvt. VI - Gigue in G minor and there is one measure that I find somewhat difficult:



The key signature is 2 flats and the time signature is 12/8.

Here I'm trying to keep the upper line legato and hold the dotted notes for the full duration. My fingering is 5 (hold) 3-2-1 (hold) 5-4-3 (hold), then substitute 3-5 on the F sharp before playing 3-2-1. The problem is that I find it hard to do that finger substitution quickly enough and I'm not even playing fast yet. I'm wondering if there is a better fingering that maintains the effect of two legato voices.

Should I bother at all? On one hand the music was written for harpsichord where the legato wouldn't be audible, but on the other hand it's clearly marked as two separate voices and I'm playing it on an instrument that can sustain the long notes and play legato. I'm on the fence about this.

I would probably hold the F# with 3 and then play 1-1-1 with no substitution. If it doesn't sound legato enough you hold down the pedal for the F#, D, C.

You can try substituting 3/4 on the F# instead (which is a lot easier and quicker than your 3/5), then play 2-1-2 or 3-2-1.

I dont think it is important to hold the dotted quarter for a full duration. There are 2 voices and they need to be separated. In this bar there is a change of rythm vs the other bar and you have to see how you want to play that. Making a change 3 to 5 on a black note is very complicated. I would play something like 5321 then 432 and substitute 2-4 on F sharp and then play 2-1-2. Worst case if you still cant make it, just shorten the F sharp.

Another choice on the four notes in question is 3-2-1-1.

Thank you all for the suggestions. I will try them and see what works best.

5-4-4-2-1-1 is yet another choice.

I found a solution. After playing the F sharp with 3 I replace with 4 while playing the lower voice 1-2-1.

Just something to remember: this is a gigue, a lively dance. It shouldn't be played all legato: to give it the proper character it needs articulation. As was typical for the time, Handel left the details of articulation to the player. In this particular example, you might play all the eighth notes staccato. Or you might play single ones staccato and group them together legato when there are two of them. It's fun to try out different articulations in this sort of music.

Depending on the articulations you choose, certain fingerings will work better than others.

This is a nice example where you can use the "5 under 4" that was discussed in the other fingering thread:
5-3-2-1 like you said and then 4-5-4-3-2-1 (4 for a, 5 for g, and 4 again for f#).

I am skeptical about the ability to do this reliably and legato at full tempo of 100 bpm, ie about 300 notes per minutes.

I think that only works well going from a black key to the white key directly below it.