Submitted by Josh Condon
Published on 4/29/2020
“This fingering maximizes power and security.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“I find these redistributions easier for these very fast and at times awkward arpeggios. It is crucial match to the sound between the hands so the line remains seamless.”
Submitted by Michael Clark
Published on 1/1/2020
“I find this redistribution more reliable for controlling the leggiermente sound of this challenging passage so close to the beginning of the piece.”
Submitted by Michael Clark with thanks to Logan Skelton
Published on 1/1/2020
“Switching to the right hand one note early makes this moment less crowded between the hands.”
Submitted by Michael Clark with thanks to Craig Nies
Published on 1/1/2020
“I find this fingering more reliable.”
Submitted by Michael Clark
Published on 1/1/2020
“The pedal is all the way down on this sudden fortissimo. There’s no reason not to get both hands involved.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022
“Taking the arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022
“With this redistribution, the pianist doesn't need to jump around or arpeggiate the right hand. Plus, playing the F-sharp octaves on the 3rd and 5th beats with the right hand provides emphasis to the strong beats of the fortissimo ending, creating a nice audible shape.”
Submitted by Kevin Lee Sun
Published on 1/28/2022
“The left hand is already in a higher register. Why not help out the right hand?”
Submitted by Michael Clark
Published on 1/1/2020
“I find using two hands is more reliable and looks good.”
Submitted by Michael Clark
Published on 1/1/2020
“I find it more comfortable to let the right hand take over the arpeggio earlier.”
Submitted by Michael Clark
Published on 7/30/2021
“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
“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
Submitted by John Patrick Murphy
Published on 12/30/2020
“I find this arrangement of the notes between the hands more secure for the big finish.”
Submitted by Michael Clark
Published on 1/4/2022