“This fingering minimizes position shifts and looks nice.”
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
“As this pattern descends, it can be divided by the hands to maximize power and visual excitement.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Josef Raieff suggested performing these two measures with the Viennese-style “compression” on Beats 1 and 2. Taking the final notes with the LH is not only a fun bit of choreography, but prevents the student from giving an undesirable accent of beat 3.”
Submitted by Sam Welsh with thanks to Josef Raieff
Published on 3/26/2020
“Dividing this passage between the hands adds security and visual appeal to the ending of this set.”
Submitted by Michael Clark
Published on 9/5/2023
Red = RH
Blue = LH
“I cross the left hand over the right in both m. 54 and m. 57, partly to reduce position shifts in the right hand and partly because it looks nice.”
Submitted by Michael Clark
Published on 9/7/2023
“This fingering consistently separates distinct musical lines between the hands: the left hand takes the quarter notes, the right plays the triplets. The hand crossing also looks nice!”
Submitted by Michael Clark
Published 1/11/2020
“Using the left hand helps bring out the melody (and looks extra virtuosic!).”
Submitted by Michael Lenahan
Published on 12/16/22
“This division of the notes eliminates several finger crossings and adds security and visual flourish to the descending arpeggio.”
Submitted by Michael Clark
Published on 4/18/2020