“This redistribution makes the right-hand shifts less awkward, allowing the line to be played with stronger fingers.”
Submitted by Michael Clark
Published on 3/16/2020
“Transferring the E-flat and G-flat silently into the left hand frees the right hand for a more melodic performance of the turn with stronger fingers.”
Submitted by Michael Clark
Published on 4/18/2020
“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 alto notes in the left hand allows the right hand to use stronger fingers on the triplet.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the alto notes in the left hand allows the right hand to use stronger fingers on the triplet.”
Submitted by Michael Clark
Published on 1/1/2020
“Keeping the accompaniment figure in the left hand in m. 12 helps the melody line to be more legato.”
Submitted by Michael Clark
Published on 3/17/2020
“The bottom notes of these sixths fit easily into the left hand.”
Submitted by Michael Clark
Published on 3/17/2020
Submitted by Josh Condon
Published on 6/15/2020
Submitted by Josh Condon
Published on 6/15/2020
“I have more control over the melody sound when I take the whole accompaniment in the left hand.”
Submitted by Michael Clark
Published on 2/15/2020
The bracket in black is Poulenc’s. The suggested redistribution is marked in gold.
“I find that this extremely fast passage is most reliable whenever I lighten the load of the right hand.”
Submitted by Michael Clark
Published on 4/4/2020
“Playing the melody notes while sustaining the third below all in the right hand requires an uncomfortable stretch. The left hand can easily help out, freeing the right hand to use an optimal fingering.”
Submitted by Michael Clark
Published on 1/6/2024
“Taking the alto voice in the left hand allows better control of the sound of the melody.”
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
“Taking the first few sixteenth notes of m. 27 in the left hand helps me achieve a smoother transition in the melody.”
Submitted by Michael Clark
Published on 9/7/2023
“I find this hand arrangement to be comfortable and elegant. It isolates the melody and eliminates position shifts for the right hand.”
Submitted by Michael Clark
Published on 1/6/2024
“Playing this also line with the left hand requires less stretch.”
Submitted by Michael Clark
Published on 1/6/2024