“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
“I find it easier to keep the LH within an octave where possible. The leap to 1 on a black can also be uncomfortable.”
Submitted by Michael Clark
Published on 3/16/2020
“This redistribution helps the right hand avoid changing positions or crossing over with 2.”
Submitted by Michael Clark
Published on 1/27/2020
“The hand crossing allows you to play pianissimo much easier than try to playing the 2nds as written with one hand.”
Submitted by Wade Troyer
Published on 9/12/2023
“Switching the C to the left hand allows for a more evenly divided roll and requires the right hand to move less from its previous position.”
Submitted by Michael Clark
Published on 3/18/2020
“The right-hand thumb is already on the D one eighth note before, so it’s no trouble for it to play the D in m. 54, eliminating an unnecessary position shift in the left hand. On the downbeat of m. 55, I prefer to keep the same distribution employed in the previous measures for simplicity (three notes in the left hand, one in the right).”
Submitted by Michael Clark
Published on 1/1/2020
“The left hand is already on this A so it is very simple to play the A again with the same hand.”
Submitted by Michael Clark
Published on 1/1/2020
Original:
Suggested performance:
“This redistribution keeps the thumbs on the same notes in mm. 217–19.”
Submitted by Michael Clark
Published on 1/1/2020
Submitted by Michael Lenahan
Published on 1/21/2022
“Taking the first notes of each group with the left hand limits the right-hand figure to only two positions.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“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 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
“There are a few different possibilities here. This is a -no-fuss’ option that keeps my hands in single, easy-to-find positions.”
Submitted by Sarah Rushing
Published on 3/8/2023
“Using this fingering on the ascending arpeggio in the right hand leads smoothly into the octaves. On the descent, I prefer to start with an octave in the right hand so that the left hand can start with 1 on D.”
Submitted by Michael Clark
Published on 1/1/2020
“This fingering prioritizes a secure arrival on the final chord by placing 1 on the G two sixteenths earlier.”
Submitted by Michael Clark
Published on 1/3/2022
“Taking the arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022
“Taking the arpeggio in the right hand after the third note facilitates a legato connection in the left hand.”
Submitted by Michael Clark
Published on 1/3/2022
“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