“I’ve always found this right-hand run difficult to play accurately. Taking these two notes with the left hand (while the lower notes are sustained with the pedal) helps me negotiate the position shifts more easily.”
Submitted by Michael Clark
Published on 7/30/2021
“Letting the left hand thumb start the final group of triplets allows a more comfortable fingering for the remainder of the passage.”
Submitted by Michael Clark
Published on 7/30/2021
“Taking the first note of this gesture in the left hand eliminates the wide stretch.”
Submitted by Michael Clark with thanks to Craig Nies
Published on 1/1/2020
“Taking the top of the gesture in the right hand in m. 50 increases brilliances. I find that taking more notes in the right hand in m. 53 is more reliable for me.”
Submitted by Michael Clark
Published on 1/1/2020
“The highest note of the left-hand arpeggio fits easily within the right-hand chord, eliminating awkward crowding between the hands.”
Submitted by Michael Clark
Published on 7/30/2021
“I find dividing this arpeggio more evenly between the hands gives me more control at this dynamic.
Submitted by Michael Clark
Published on 1/1/2020
“Striking the half-note F with the left hand helps me give each motive a distinct sound.”
Submitted by Michael Clark
Published on 7/30/2021
“Taking the C-sharp in the left hand eliminates a position shift in the right hand.”
Submitted by Michael Clark
Published on 1/1/2020