“Playing the final B of m. 17 with the left hand facilitates a smoother delivery of the top line, resulting in more consistent voicing. Taking the bottom of the E octave in the left hand eliminates a very awkward leap at a fast tempo.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“My voicing of the melodic line improves when I play the top F alone and play the bottom F in the left hand.”
Submitted by Michael Clark
Published on 4/18/2020
“Taking the double-stemmed note in the left hand helps to voice it distinctly from the other notes in the arpeggio.”
Submitted by Michael Clark
Published on 1/1/2020
“Isolating the F in the right hand reduces the distance of the position shift and facilitates bright voicing.”
Submitted by Michael Clark
Published on 8/22/2022
“Taking the G in the left hand creates a more compact position in the right hand while hardly expanding its own span. The smaller interval in the right hand allows me to use both 4 and 5 and align my arm for maximum power on the accent melody note.”
Submitted by Michael Clark
Published on 3/8/2023
“Striking the half-note F with the left hand helps me give each motive a distinct sound.”
Submitted by Michael Clark
Published on 7/30/2021
”Use the right hand to play the inner voice and bring out the subject in the left hand.”
Submitted by Po Sim Head
Published on 1/30/2021
“Taking the E-sharps with the left hand when possible helps differentiate the lines.”
Submitted by Michael Clark
Published on 3/15/2020
“Taking these notes in the right hand helps differentiate the voices and eliminates the need to stretch or leap to them.”
Submitted by Michael Clark
Published on 3/15/2020
“Playing the sixteenth notes that occur on the quarter beats with the right hand thumb helps to voice the "hidden" line in this compound melody. This redistribution is also designed to allow the right hand to remain in a relatively relaxed position when playing this passage at the indicated "Allegro" tempo. The performer should be careful to avoid emphasizing the left hand thumb in the same manner as the right hand or holding the thumb notes in either hand longer than the duration of a sixteenth note.”
Submitted by Jonathan Scofield
Published on 4/29/2020
“Taking the lowest line of the top staff into the left hand in m. 18 allows for smoother legato in all parts and better voicing of the melody.”
Submitted by Michael Clark
Published on 9/5/2023
“Taking this alto note in the left hand allows the right hand to better align behind the melody notes, promoting a more singing tone.”
Submitted by Michael Clark
Published on 9/2/2023
“The alto C is within easy reach of the left hand, allowing the melody to be isolated for greater control of voicing.”
Submitted by Michael Clark
Published on 9/2/2023
“I prefer to keep nearly all the triplets in the left hand for better projection and legato in the right-hand melody.”
Submitted by Michael Clark
Published on 9/7/2023
“Playing the C with the right hand allows me to sound the complete chord simultaneously and better voice the top note.”
Submitted by Michael Clark
Published on 1/6/2024
“Dividing the grace notes this way helps me get a bright and clear sound at the top. Taking some of the lower notes on the top staff into the left hand facilitates clear voicing and reduces position shifts.”
Submitted by Michael Clark
Published on 9/1/2023
“Moving some of the lower notes from the top staff into the left hand allows for clearer voicing, eliminates the need to roll widely-spaced chords, and facilitates a sparkling sound in m. 8. I play the lower A-natural with my left-hand thumb before the beat, placing the higher A-natural on the downbeat along with the chord on the lower staff.”
Submitted by Michael Clark
Published on 9/1/2023
“Taking these notes into the left hand simplifies the position shifts in the right hand and facilitates clearer voicing.”
Submitted by Michael Clark
Published on 9/1/2023