Submitted by Osip Nikiforov
Published on 3/15/2020
“Taking the final G-sharps as an octave lets the left hand prepare for the next measure slightly earlier. Every little moment helps, and it’s easier to stagger the position shifts in the left and right hands.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering reduces the number of position shifts in the right hand and allows the final D-sharp to be taken as an octave.”
Submitted by Michael Clark
Published on 1/3/2022
“Ending with an octave feels secure.”
Submitted by Michael Clark
Published on 2/15/2020
“Finishing with an octave in the right hand is more secure.”
Submitted by Michael Clark
Published on 1/6/2020
Submitted by Ben Pawlak
Published on 3/29/2020
“I find it easier to start the left-hand octaves in m. 544 and keep them through the down beat of m. 547. Taking the Cs as octaves in mm. 549 and 552 allows the left hand move to its new position earlier.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the final note as an octave feels more secure.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the sforzandos as octaves where indicated eliminates difficult position shifts in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Starting with a right-hand octave facilitates a left-hand position shift over a smaller interval (D to C-flat). Grabbing the E-flats as a left-hand octave in m. 445 eliminates a fingering cross that I found unreliable.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“Taking some of these As as octaves helps alleviate some of the awkwardness.”
Submitted by Michael Clark
Published on 1/1/2020
“I like to divide these arpeggios more evenly between the hands.”
Submitted by Michael Clark
Published on 4/13/2020