“Playing the top note of the sixths with the right hand eliminates the stretch and allows greater control of the various articulations.”
Submitted by Michael Clark
Published on 1/1/2020
Right hand in red, left hand in blue:
“I find this extremely awkward passage is easier with the hands mostly reversed. The crowding toward the end of the passage is alleviated somewhat by taking the bottom octave of the top staff in the left hand.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Bartók’s stems suggest alternating hands each measure but this distribution facilitates a more tonally consistent and rhythmic performance.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“This redistribution allows each hand at least one beat of rest to prepare for the next position.”
Submitted by Michael Clark
Published on 1/1/2020
“Eventually the left must play both the sustained bass note and moving quarter note line, but the right hand can help at the start to ensure a clean performances of the grace notes.”
Submitted by Michael Clark
Published on 1/1/2020
“These redistributions eliminate stretches beyond an octave which are risky at such a fast tempo.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Using the right to launch this pattern avoids starting with the left-hand crossing over finger 2 which I finding unnecessarily awkward.”
Submitted by Michael Clark
Published on 1/1/2020
“The right hand has already established the pattern of sliding from the B-flat octave to the A octave, so I find it simpler to continue the pattern into the final measure.”
Submitted by Michael Clark
Published on 1/1/2020
“This huge leap is made easier by taking the final D in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the C-sharp and B-flat in the left hand eliminates crowding and allows a legato connection from the preceding grace note. I catch the chord in the sostenuto pedal to allow clearer pedaling of the octave line.”
Submitted by Michael Clark
Published on 1/1/2020
“Reorganizing the notes as indicated allows pianists who cannot reach the tenth to play the whole chord simultaneously.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering/hand grouping lets the hands move at different times to play the sextuplet, according to where the lines appear in the groupings. For left hand, hold thumb and release the lower note of the third, and 4 and 5 can find the next minor 2nd easily, letting your eyes focus on the right hand's jump at the same time.”
Submitted by Gabe Merrill-Steskal
Published on 3/21/2020
“Playing the final B of m. 17 with the left hand facilitates a smoother delivery of the top line, resulting in more consistent voicing. Taking the bottom of the E octave in the left hand eliminates a very awkward leap at a fast tempo.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“The right-hand thumb is already on the D one eighth note before, so it’s no trouble for it to play the D in m. 54, eliminating an unnecessary position shift in the left hand. On the downbeat of m. 55, I prefer to keep the same distribution employed in the previous measures for simplicity (three notes in the left hand, one in the right).”
Submitted by Michael Clark
Published on 1/1/2020
Original:
Suggested performance:
“The F-flat grace notes in mm. 105–6 are extremely awkward when played in the right hand. Catching them with left-hand 5 eliminates the crowding.”
Submitted by Michael Clark
Published on 2/13/2022
Original:
Suggested performance:
“Redistributing the notes in m. 110 eliminates an awkward hand crossing and allows the right hand to remain in a closer position to the succeeding octaves.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the B-flat from the lower staff into the right hand in m. 158 is the only way I can manage the awkwardness of this measure. When possible, taking the grace notes in the left hand facilitates a stronger sforzando on the arrival note.”
Submitted by Michael Clark
Published on 1/1/2020
Original:
Suggested performance:
“The B-flat grace note in m. 220 is extremely awkward when played in the right hand. Catching it with finger 5 in the left hand eliminates the crowding.”
Submitted by Michael Clark
Published on 1/1/2020