“The left hand is positioned above the right in the beginning of m. 218. Taking the B-natural in the right hand eliminates an awkward jump in the left hand and allows the left hand the opportunity to get below the right hand for the rest of the passage.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the final triplet before the leap in the right hand makes the leap more secure.”
Submitted by Michael Clark
Published on 4/18/2020
RH in red, LH in blue
“When the bass is a whole note, hold the pedal for four beats so the bass sustains while the left hand crosses over the right. This redistribution feels more secure to me than the awkward leap involved in trading the triplets between the hands.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“The stretch of a seventh between 5 and 2 in the left hand is awkward and unreliable. Taking the the D-sharp with the right-hand thumb facilitates a more secure performance of the left-hand line.”
Submitted by Michael Clark
Published on 4/18/2020
“The leap down to the B-flat is treacherous, and it can be difficult to play it with satisfactory power. Taking it in the right hand eliminates the leap and assures a strong delivery.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“Transferring the E-flat and G-flat silently into the left hand frees the right hand for a more melodic performance of the turn with stronger fingers.”
Submitted by Michael Clark
Published on 4/18/2020
“My voicing of the melodic line improves when I play the top F alone and play the bottom F in the left hand.”
Submitted by Michael Clark
Published on 4/18/2020
“With the left hand's help, legato in all voices is possible.”
Submitted by Michael Clark
Published on 4/18/2020
“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 the D in the left hand allows for maximum security and power at this climactic moment.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 4/18/2020
“This fingering maximizes power and security.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“This fingering allows the trill to played with strong fingers. Taking the first of the fortissimo chords with the left hand more evenly distributes the chords rhythmically and avoids an unnecessary leap.”
Submitted by Michael Clark
Published on 1/1/2020
Submitted by Michael Lenahan
Published on 12/15/2022
“Taking the grace notes in the left hand facilitates a smooth transition between registers.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“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
“I find these redistributions easier for these very fast and at times awkward arpeggios. It is crucial match to the sound between the hands so the line remains seamless.”
Submitted by Michael Clark
Published on 1/1/2020
“Dividing the chord this way eliminates the leap in the right hand, allowing a secure and accurate performance of the double-dotted rhythm.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“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