“Taking the B-flat from the lower staff into the right hand in m. 158 is the only way I can manage the awkwardness of this measure. When possible, taking the grace notes in the left hand facilitates a stronger sforzando on the arrival note.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the F-double-sharp in the left hand allows the right hand to maintain a more compact hand shape and thus provides a more powerful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“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
“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 maximizes power and security.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Taking one extra note in the left hand puts the right hand in a more compact position, resulting in increased power and security.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“Switching the E to the right hand eliminates a stretched position in the left hand. More compact positions allow a more forceful delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering maximizes power by playing the low C-sharp with the thumb. This creates a leap to the remainder of the final LH chord which is facilitated by the RH taking the LH chord’s top C-sharp.”
Submitted by Michael Clark
Published on 1/1/2020
“I find that I can play the third at maximum volume more securely with two hands.”
Submitted by Michael Clark
Published on 1/1/2020
“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
“I divide the septuplet between the hands in this way, finishing with the right-hand thumb to more reliably project the strong accent.”
Submitted by Michael Clark
Published on 3/8/2023
Original:
Suggested performance:
“Starting the trills with the left-hand thumb gives brilliance.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Taking the top of the gesture in the right hand in m. 50 increases brilliances. I find that taking more notes in the right hand in m. 53 is more reliable for me.”
Submitted by Michael Clark
Published on 1/1/2020
“Dividing these gestures between the hands makes them more powerful and more reliable.”
Submitted by Michael Clark with thanks to Logan Skelton
Published on 3/13/2020
“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
“Taking the first sixteenth note of each group in the left hand results in a more brilliant and secure performance.”
Submitted by Michael Clark with thanks to Mia Hynes
Published on 1/1/2020
“I find playing the final chord with two thumbs provides both the greatest security and the most brilliant sound for this climactic moment.”
Submitted by Michael Clark
Published on 9/6/2023
“I divide the fourths between the hands in this way to maximize power and ensure accuracy by removing the need for the right hand to cross into a new position.”
Submitted by Michael Clark
Published on 1/5/2024