Practice Method

The technical challenge may lie in hand-crossing. Timing discrepancies that occur when switching hands can lead to uneven playing, so it is best to avoid any timing shifts if possible. This is especially critical if the fingers involved in the 'baton pass' (hand-off) are weaker fingers such as the 4th or 5th.

Here is a practice method for such cases. First, count from the 'baton pass' point and identify the fingerings for four notes leading up to it, and four notes immediately following it.

Next, narrow down the notes to practice. Let's take the first beat of measure 2 as an example. In the author's score, the first 16th note, E-flat, is played by the right hand, then a 'baton pass' occurs to the left hand, which plays C with the 5th finger. Let's assume E-flat is played by right hand 3, and C by left hand 5.

Then, practice these two notes only as a tremolo (E-flat C E-flat C E-flat C E-flat C,...). Match the speed of these two notes to the actual playing speed, and practice only these two notes as a tremolo for a while. If the notes are not even at this point, the form of either the right hand 3rd finger or the left hand 5th finger may be compromised. Is your finger shape correct? If your fingers hyperextend when striking the keys, this is often the cause.

If the notes are still uneven even with correct finger shape, reduce the tempo to one where the notes become even and practice there. Once you get accustomed, gradually increase the tempo. Once the tempo reaches the target tempo, start adding more notes.

Let's try playing only the four 16th notes on the first beat of measure 2: E-flat C E-flat G. Loop this phrase (E-flat C E-flat G E-flat C E-flat G E-flat C E-flat G E-flat C E-flat G) and practice without stopping. If the notes are even, you're on the right track. If they are not even, reduce the number of notes played by the right hand. First, remove G, extract only E-flat C E-flat, and repeat E-flat C E-flat E-flat C E-flat E-flat C E-flat E-flat C E-flat to check for evenness.

If they are still not even, return to the first two notes.

Once the four notes on the first beat of measure 2 are even, try playing from the fourth beat of measure 1 to the first beat of measure 2 (G F E-flat D E-flat C E-flat G).

In this way, practice with two notes from the 'baton pass' transition point, and gradually increase the number of notes. By doing so, the hand-crossing will no longer be an issue. Please try this method.

Additionally, this piece modulates through G minor and F minor. Introduce variations with each modulation. Avoid playing them in the same manner.

At measure 29, between beats 1 and 2, the author finds it easier to take only the F-sharp in the left hand with the right hand, and play F-sharp E-flat C E-flat F-sharp E-flat C E-flat with the right hand. The left hand only plays A.