“Taking these two notes in the right hand eliminates this awkward fingering challenge.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“It’s hard to find a comfortable fingering for the right hand alone due to the layout of black and white keys in this scalar passage. Taking these four notes in the left hand eliminates the problem.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
Submitted by Michael Lenahan
Published on 12/15/2022
Submitted by Michael Lenahan
Published on 12/15/2022
“I find this redistribution more reliable for controlling the leggiermente sound of this challenging passage so close to the beginning of the piece.”
Submitted by Michael Clark with thanks to Logan Skelton
Published on 1/1/2020
“Switching to the right hand one note early makes this moment less crowded between the hands.”
Submitted by Michael Clark with thanks to Craig Nies
Published on 1/1/2020
“Splitting the octaves this way facilitates a legato connection.”
Submitted by Michael Clark
Published on 1/1/2020
“Splitting the middle voice between the hands in this way facilitates legato in all parts.”
Submitted by Michael Clark
Published on 1/1/2020
“It’s difficult to find a legato fingering for the alto line in the right hand while sustaining the C with finger 5. Fortunately the final C in the alto line is within reach of the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“The use of the thumb for the seconds in the right-hand makes this passage easy to ‘throw off.’ As an added bonus, using the thumb (rather than 1-2) for the dyad keeps my hand in an open position (rather than a contracted position), which makes the passagework in m. 69 feel more comfortable.”
Submitted by Sarah Rushing
Published on 3/8/2023
“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
Submitted by Kate Acone
Published on 1/8/2020
“With this redistribution, the pianist doesn't need to jump around or arpeggiate the right hand. Plus, playing the F-sharp octaves on the 3rd and 5th beats with the right hand provides emphasis to the strong beats of the fortissimo ending, creating a nice audible shape.”
Submitted by Kevin Lee Sun
Published on 1/28/2022
Submitted by Michael Lenahan
Published on 1/9/2021
“Just keep it all in the right hand.”
Submitted by Michael Lenahan
Published on 1/9/2021
“Using the right hand gives the left hand more time to prepare for the downbeat.”
Submitted by Michael Lenahan
Published on 1/9/2021
“Taking the B in the left hand improves the legato.”
Submitted by Michael Lenahan
Published on 1/9/2021
“Take the upper note of the tenths in the right hand.”
Submitted by Michael Lenahan
Published on 1/9/2021