“I take the C on the second eighth of each measure with the left hand since the LH is already there and it gives the right hand time to smoothly jump down and pick it up form there. If it is phrased well, no one will ever know the difference and one can avoid gaps that disrupt the flow of this cute ending.”
Submitted by James Palmer
Published on 8/27/2021
“Taking the B-flat in the right hand relieves the left hand from navigating either a leap or a stretch of a sixth into the remaining sixteenth notes, which I find unreliable at quick tempo.”
Submitted by Michael Clark
Published on 1/27/2020
“Taking the last note of the grace-note run in the right hand allows slightly more time for the left hand to move to the following chord an octave lower.”
Submitted by Michael Clark
Published on 2/15/2020
“This huge leap is made easier by taking the final D in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“This dramatic leap is made somewhat easier by taking the preceding B octave with the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the G into the right hand in m. 14 helps keep the different articulations distinct and eliminates the leaps in the left hand.”"
Submitted by Michael Clark
Published on 1/13/2022
“The B-flat eighth note evenly divides the left-hand leap, and I find it easier to play it between the E-flat octaves in the left hand than with the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the final triplet before the leap in the right hand makes the leap more secure.”
Submitted by Michael Clark
Published on 4/18/2020
“The stretch of a seventh between 5 and 2 in the left hand is awkward and unreliable. Taking the the D-sharp with the right-hand thumb facilitates a more secure performance of the left-hand line.”
Submitted by Michael Clark
Published on 4/18/2020
“The leap down to the B-flat is treacherous, and it can be difficult to play it with satisfactory power. Taking it in the right hand eliminates the leap and assures a strong delivery.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“Both hands have to leap, but I find it easier for them to shift only once instead of twice right in a row. This redistribution keeps everything up to the forte in one position.”
Submitted by Michael Clark
Published on 4/18/2020
“Taking the D in the left hand allows for maximum security and power at this climactic moment.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“This fingering allows the trill to played with strong fingers. Taking the first of the fortissimo chords with the left hand more evenly distributes the chords rhythmically and avoids an unnecessary leap.”
Submitted by Michael Clark
Published on 1/1/2020
“Dividing the chord this way eliminates the leap in the right hand, allowing a secure and accurate performance of the double-dotted rhythm.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“This leap is easier as just a tenth with the left hand taking the E-flat.”
Submitted by Michael Clark
Published on 3/16/2020
“Taking the F in the right hand allows the bass to sustain while I pedal with the right-hand line.”
Submitted by Michael Clark
Published on 3/16/2020
“Taking the top note of the first few sixths in the right hand eliminates the large leap in the left hand. This redistribution feels much more secure to me.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the final C-sharp as an octave in the left hand gives the right hand extra time to move to the next position.”
Submitted by Michael Clark
Published on 1/3/2022