“I redivide the notes between the hands several times in this section. The hand crossing in m. 37 is awkward as written, so I take the upper C-sharp in left hand. In m. 39, the top notes of the lower staff can be taken in the right hand, and the Cs can be taken as an octave in the left hand in m. 40.”
Submitted by Michael Clark
Published on 11/22/2023
“The F falls easily within the right hand’s position—taking it with the right hand saves the left hand from reaching quite as far across the body.”
Submitted by Michael Clark
Published on 11/22/2023
“This is a perfect time to use 1 on black keys—it simplifies the positions in both hands, eliminating extra shifts.”
Submitted by Michael Clark
Published on 1/22/2023
“Taking these notes in the left hand eliminates an extra position shift in the right hand.”
Submitted by Michael Clark
Published on 11/22/2023
“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
“I divide the upward gesture this way to end with a strong finger in the right hand. Redividing the chord on the downbeat of m. 25 reduces the distance of the leap in the right hand.”
Submitted by Michael Clark
Published on 1/6/2024
“Adding a few notes of the sweeping gesture to the left hand keeps the right hand from feeling too stretched.”
Submitted by Michael Clark
Published on 1/6/2024
“Taking the C into the left hand allows the right hand more time to shift positions. I find it comfortable and convenient to keep the F at the downbeat of m. 58 in the left hand.”
Submitted by Michael Clark
Published on 1/6/2024
“I split up the thirds for ease, clarity, and optimal articulation.”
Submitted by Michael Clark
Published on 1/6/2024
“Dividing the grace notes this way helps me get a bright and clear sound at the top. Taking some of the lower notes on the top staff into the left hand facilitates clear voicing and reduces position shifts.”
Submitted by Michael Clark
Published on 9/1/2023
“Moving some of the lower notes from the top staff into the left hand allows for clearer voicing, eliminates the need to roll widely-spaced chords, and facilitates a sparkling sound in m. 8. I play the lower A-natural with my left-hand thumb before the beat, placing the higher A-natural on the downbeat along with the chord on the lower staff.”
Submitted by Michael Clark
Published on 9/1/2023
“The left hand can very easily take over these lines at the end of mm. 21 and 23 as they naturally fit in the same position as the following measure.”
Submitted by Michael Clark
Published on 9/1/2023
“The last note of m. 26 can be taken over by the right hand since it plays the same note in the next measure. This gives the left hand a little more time to find its new position.”
Submitted by Michael Clark
Published on 9/1/2023
“Taking these notes into the left hand simplifies the position shifts in the right hand and facilitates clearer voicing.”
Submitted by Michael Clark
Published on 9/1/2023
“The last sixteenth note of m. 35 can be played by the right hand to allow the left hand extra time to move to its next position. I take two tenor notes in the right hand in m. 36 to avoid a crowded position between the hands.”
Submitted by Michael Clark
Published on 9/1/2023
“The left hand can assist with a few notes to allow the right hand to start the trill with an optimal fingering.”
Submitted by Michael Clark
Published on 9/8/2023
“These redistribution reduce position shifts in both hands, especially allowing the right hand more time to cleanly play the chord at the downbeat of m. 52.”
Submitted by Michael Clark
Published on 9/1/2023
“Taking the last sixteenth in the bottom staff of m. 54 in the right hand allows the left hand extra time to leap to its low octave. The redistributions at the end m. 57 reduce unnecessary position shifts.”
Submitted by Michael Clark
Published on 9/1/2023