“The bottom note of the tied octave can be released, allowing the right-hand thumb to take the top note of the left-hand tenth. This helps reduce the number of rolled chords.”
Submitted by Michael Clark with thanks to Jennifer Hayghe
Published on 1/1/2020
“Taking the alto voice in the left hand frees the right to use stronger fingers on the ornamental figure.”
Submitted by Michael Clark with thanks to Jennifer Hayghe
Published on 1/1/2020
“The top note of this especially wide chord can be played with the right hand.”
Submitted by Michael Clark with thanks to Jennifer Hayghe
Published on 1/1/2020
“This tenor melody can be shared between the hands for maximum legato.”
Submitted by Michael Clark with thanks to Craig Nies
Published on 1/1/2020
“This chord involves an awkward layout of black and white keys and is more easily played with the left-hand taking the lowest note.”
Submitted by Michael Clark with thanks to Jennifer Hayghe
Published on 1/1/2020
Fingerings in Italics are Liszt’s.
“I find that this hand distribution on the arpeggio feels good and looks good.”
Submitted by Michael Clark
Published on 1/1/2020
“I like to split some of the octaves between the hands for a more legato effect.”
Submitted by Michael Clark
Published on 1/1/2020
“Crossing the left hand over the right to play the C-sharp adds a visual flourish and divides the chords into more manageable positions in each hand.”
Submitted by Michael Clark with thanks to Jennifer Hayghe
Published on 1/1/2020
Fingerings in Italics are Liszt’s.
“Taking the final sixth in the right hand allows the pattern of hand alternation to continue to the downbeat.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking this inner voice with the right hand saves the left hand from many awkward shifts.
Submitted by Michael Clark
Published on 1/1/2020
“The right hand can assist with this awkward left-hand pattern.”
Submitted by Michael Clark
Published on 8/11/2021
Fingerings in Italics are Liszt’s.
“The first note of these triplets can always be taken with the right hand to avoid stretching or rolling.”
Submitted by Michael Clark
Published on 1/1/2020
“As this pattern descends, it can be divided by the hands to maximize power and visual excitement.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“This redistribution makes the RH difficult to keep even and keep the musical sound distinct for the redistributed notes. But the resulting accuracy of the LH outweighs that difficulty in my opinion. The pattern may be continued into the next measure, but I found the leap is not as difficult.”
Submitted by Mary Katherine Schober
Published on 3/29/2020
“The left hand is free to help with the repeated notes.”
Submitted by Michael Clark
Published on 3/18/2020
“Josef Raieff suggested performing these two measures with the Viennese-style “compression” on Beats 1 and 2. Taking the final notes with the LH is not only a fun bit of choreography, but prevents the student from giving an undesirable accent of beat 3.”
Submitted by Sam Welsh with thanks to Josef Raieff
Published on 3/26/2020
“Some students may have an easier time distributing these tremolo figures between the hands. At a presto tempo, any lack of coordination between the hands (as written) results in a ragged, jangly version. Alternating between the hands keeps the articulation crisp.”
Submitted by Sam Welsh
Published on 3/26/2020
“Dividing these sixths between the hand improves legato and helps control the dynamic level of the accompaniment.”
Submitted by Michael Clark
Published on 1/1/2020