“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