“Taking the Bs in the left hand in m. 19 helps reduce the number of wide positions in the right hand. Taking the C in m. 22 in the left hand gives the right hand extra time for its leap.”
Submitted by Michael Clark
Published on 3/26/2020
“Having released the lowest C, the left hand is now free to play the C of the alto line, freeing the right hand to shift positions.”
Submitted by Michael Clark
Published on 3/26/2020
“Taking this C as an octave in the left hand gives the right hand extra time for its leap.”
Submitted by Michael Clark
Published on 3/26/2020
“Presumably this is was Ravel’s intended distribution, but it took me a while to figure that out as an undergraduate collaborative pianist. Hopefully seeing this will save someone some headaches!”
Submitted by Michael Clark
Published on 4/13/2020
“At the rapid tempo of this song, I can do without this particular hand crossing. This fingering also reduces position shifts in the right hand and uncrosses the distribution of the inner notes .”
Submitted by Michael Clark
Published on 4/13/2020
“I prefer these E-flats in the right hand so that I can prepare better for the position of the following measure.”
Submitted by Michael Clark
Published on 4/13/2020
“Taking these two notes in the left hand allows the right hand just enough time to prepare for the grace notes.”
Submitted by Michael Clark
Published on 4/13/2020
“Taking the chord in the left hand gives the right hand time to move to its new position.”
Submitted by Michael Clark
Published on 4/13/2020
“This fingering helps prioritize the smooth line without an over-reliance on pedal that might muddy the texture and overcast the great counterpoint in the inner voices.”
Submitted by Wade Troyer
Published on 9/27/2022
“This fingering helps prioritize the smooth line without an over-reliance on pedal that might muddy the texture and overcast the great counterpoint in the inner voices.”
Submitted by Wade Troyer
Published on 9/27/2022
“I like to divide the groups of seven in a consistent pattern.”
Submitted by Michael Clark
Published on 4/13/2020
“Dividing the run this way enables a more secure arrival at the D-sharp octave.”
Submitted by Michael Clark
Published on 4/13/2020
“Taking the low A in the left hand ensures the accuracy of the octave leap.”
Submitted by Michael Clark
Published on 4/13/2020
“The top notes of the left-hand line are already being played by the right hand, so no need for the left hand to shift.
Submitted by Michael Clark
Published on 4/13/2020
“Often the highest notes of the left hand line is already within the right hand’s grasp, so I prefer to let the right hand play them.”
Submitted by Michael Clark
Published on 4/13/2020
“The upper notes of the arpeggios fall directly in the right hand’s position.”
Submitted by Michael Clark
Published on 4/13/2020
“I prefer to take the top of the arpeggio as a triad to avoid crossing again in the left hand.”
Submitted by Michael Clark
Published on 4/13/2020
“The G-sharp is already being played by the right hand—no need to add an extra crossing in the left hand to play it.”
Submitted by Michael Clark
Published on 4/13/2020