“Taking the sforzandos as octaves where indicated eliminates difficult position shifts in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Redividing the chords this way brings each hand closer to its next position.”
Submitted by Michael Clark
Published on 1/1/2020
“Here’s one possible solution to this minefield.”
Submitted by Michael Clark with thanks to Timothy Hester
Published on 1/1/2020
“Here’s another possible solution.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/20
“Take the G and F as octaves lets the left hand move early.”
Submitted by Michael Clark with thanks to Jon Kimura Parker
Published on 4/18/2020
“This redistribution provides a more graceful conclusion.”
Submitted by Michael Clark
Published on 1/1/2020
“Starting with a right-hand octave facilitates a left-hand position shift over a smaller interval (D to C-flat). Grabbing the E-flats as a left-hand octave in m. 445 eliminates a fingering cross that I found unreliable.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“Taking the E-flat in the right hand allows my left hand to move to its next position earlier.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 8/5/2021
“I find it much more reliable to use the left-hand thumb to start each group of three on the descent.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 8/5/2021
“Taking some of these As as octaves helps alleviate some of the awkwardness.”
Submitted by Michael Clark
Published on 1/1/2020
“The B-flat major arpeggio is particularly awkward. Taking the top B-flat in the right hand helps a little.”
Submitted by Michael Clark
Published on 1/1/2020
“In this passage I recommend taking only the initial G-flat as an octave.”
Submitted by Michael Clark
Published on 1/1/2020
“I recommend starting the ornament early.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 8/5/2021
“Keeping a relatively consistent pattern of strong fingers in spite of the configuration of black keys simplifies this passage mentally and facilitates a singing sound.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 8/5/2021
“I find using ‘double thumbs’ absolutely essential in this treacherous passage.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“This fingering uses fewer hand positions and eliminates a treacherous leap.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
Original:
Suggested performance:
“The broken octaves in the right hand can be performed as octaves in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“This distribution facilitates the leaps and is more legato.”
Submitted by Michael Clark
Published on 4/18/2020