“The A-flat and C-flat are within the hand position of the held F octave in the right hand, so it’s much less crowded to simply take these notes in the right hand and finish the gesture with the left.”
Submitted by Michael Clark
Published on 1/1/2020
“I like a more balanced feeling between the hands where possible.”
Submitted by Michael Clark
Published on 1/1/2020
“I prefer to divide the notes more evenly between the hands mm. 50 and 52. Taking the C in the right hand in m. 56 is more legato.”
Submitted by Michael Clark
Published on 1/1/2020
“I find that I can play the third at maximum volume more securely with two hands.”
Submitted by Michael Clark
Published on 1/1/2020
“No need to leap when the D-flat is easily within the right hand’s reach.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the F in the right hand allows the left-hand arpeggio to follow the same fingering pattern as the pervious one and gives more control of the timing.”
Submitted by Michael Clark
Published on 1/1/2020
“The last two note of the arpeggio are within the right hand’s current position.”
Submitted by Michael Clark
Published on 1/1/2020
“The A-flat in m. 217 is struck by the right hand, then silently transferred to the left-hand thumb so that right can start the new line. The last A-flat in m. 219 is in the right hand’s current position, and this line continues to the right hand in the following measure anyway.”
Submitted by Michael Clark
Published on 1/1/2020
“The C in m. 36 should be struck by the right hand and then silently transferred to the left hand, allowing seamless legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020