“Taking the treble A in m. 21 with the left hand prevents an uncomfortable stretch in the right hand. I use long pedals in this passage, changing with the bass note.”
Submitted by Michael Clark
Published on 10/4/2020
“When I take the F-sharp with the right hand, I can play the chord without rolling it, which I find creates a more effective subito piano.”
Submitted by Michael Clark
Published on 10/4/2020
“Taking one additional note allows the right hand to remain in the same position going into m. 29.”
Submitted by Michael Clark
Published on 10/4/2020
“The left can take the D to alleviate the right hand stretch.”
Submitted by Michael Clark
Published on 10/4/2020
“This seems to be the distribution suggested by the rests and stem direction in m. 55. I play right-hand 2 and 3 in toward the fallboard with a tall wrist. I use the unusual scale fingering in m. 56 to allow the quarter note A to be held with 1.”
Submitted by Michael Clark
Published on 10/4/2020
“I find that the A fits more comfortably into my right hand. In the left hand it’s a little too stretched out when played with the inner notes.”
Submitted by Michael Clark
Published on 10/4/2020
“I find this division of the notes gives me the most control in the very soft dynamic.”
Submitted by Michael Clark
Published on 10/4/2020
“Taking these two notes with the left hand allows for a more graceful position shift in the right hand.”
Submitted by Michael Clark
Published on 10/4/2020
“In this case, a finger crossing can’t be avoided. I find it easier for the left hand to cross with finger 2 over the distance of a third than any alternate fingering in the right hand.”
Submitted by Michael Clark
Published on 10/4/2020
“Silently transferring the D-flat in m. 77 from the right hand to the left hand lets the chord sustain while allowing the right hand to position itself for what follows.”
Submitted by Michael Clark
Published on 10/4/20
Original:
Possible rhythm of grace note and rolled chord:
“In this fingering, the right-hand thumb takes the top F in the bass clef, allowing the left hand slightly more time to leap to the top note. This redistribution keeps the exciting choreography of the hand crossing while allowing for a more secure delivery.”
Read more about how I arrived at this fingering.
Submitted by Michael Clark
Published on 10/4/2020
“I like the feeling of maintaining legato fingering in the highest voice, so I prefer to divide the syncopated line between the hands to facilitate this.”
Submitted by Michael Clark
Published on 1/5/2024
“Taking the alto G in the left hand helps me maintain legato without stretching.”
Submitted by Michael Clark
Published on 1/5/2024
“Taking the tenor D with the right hand allows me to sustain the bass note while changing the pedal.”
Submitted by Michael Clark
Published on 1/5/2024
“These notes fit well in the right hand as they lead into the next measure. and prevent extra shifts in the left hand.”
Submitted by Michael Clark
Published on 1/5/2024
“I find that trading the melody between thumbs in this way helps improve the smoothness of the melody line.”
Submitted by Michael Clark
Published on 1/5/2024
“Taking the B in the left hand allows the right hand more time to move to its next position.”
Submitted by Michael Clark
Published on 1/5/2024
“A legato fingering for the melody line results in finger 4 for the C in m. 32. Taking the middle C into the left hand naturally follows.”
Submitted by Michael Clark
Published on 1/5/2024