The opening was hard on the left hand because it requires a span of ten notes. That's a lot for me. I can't do it with just a span. I had to do a little jump that requires precision. Then right hand was a little different. It required some fine motor skills for the
acciaccaturas, which are executed with the 4th and 2nd fingers. However, that came together faster than I expected... even in the harder hand-crossing section, which we'll get to.
This part also required some effort to hold the first and fourth fingers while wiggling the fingers in between. Not as easy as it looks, but it comes together quickly too. I didn't spend a great deal of time on this song. It's shorter than it seems. It takes up about as much space as any other, but very few repeats. The chords were a little intricate too. A bit of hand-mirroring made it seem sort of capoiera-like
—the way the hands just stay the same distance from each other while holding those two-note chords.
Then there's a key change from A-minor to A-major. It's not so obvious until the key changes back to A-minor because at first there are no sharps or flats to naturalize out before bringing in the sharps. But there they are. And this is the section where the left hand plays almost on top of the right. The hardest part was getting the right hand out of the way before the left had to play. See that triad in the second bar. The 3 4 5 fingers in each hand are pretty much hovering over the same three notes, so when the left hand plays that triad, the right hand has to bolt!
Then we have the double sharps to end the section. The F is already sharpened in the key signature, so to be unequivocal the double sharp sign is necessary. Why does it remind me of something in chess? I must be misremembering.
Finally we get out of A-Major and back to the home key. It's a repeat of the theme heard in the opening, but with a little coda that does something interesting in the end, changing from a chord in C and F sharps to C and F. In a way, the modulation's a bit like what occurs during the key change, except there's no G# to naturalize. The key bending sounds interesting and is a pretty satisfying ending.
The opening was hard on the left hand because it requires a span of ten notes. That's a lot for me. I can't do it with just a span. I had to do a little jump that requires precision. Then right hand was a little different. It required some fine motor skills for the acciaccaturas, which are executed with the 4th and 2nd fingers. However, that came together faster than I expected... even in the harder hand-crossing section, which we'll get to. 
This part also required some effort to hold the first and fourth fingers while wiggling the fingers in between. Not as easy as it looks, but it comes together quickly too. I didn't spend a great deal of time on this song. It's shorter than it seems. It takes up about as much space as any other, but very few repeats. The chords were a little intricate too. A bit of hand-mirroring made it seem sort of capoiera-like—the way the hands just stay the same distance from each other while holding those two-note chords. 
Then there's a key change from A-minor to A-major. It's not so obvious until the key changes back to A-minor because at first there are no sharps or flats to naturalize out before bringing in the sharps. But there they are. And this is the section where the left hand plays almost on top of the right. The hardest part was getting the right hand out of the way before the left had to play. See that triad in the second bar. The 3 4 5 fingers in each hand are pretty much hovering over the same three notes, so when the left hand plays that triad, the right hand has to bolt!
Then we have the double sharps to end the section. The F is already sharpened in the key signature, so to be unequivocal the double sharp sign is necessary. Why does it remind me of something in chess? I must be misremembering. 
Finally we get out of A-Major and back to the home key. It's a repeat of the theme heard in the opening, but with a little coda that does something interesting in the end, changing from a chord in C and F sharps to C and F. In a way, the modulation's a bit like what occurs during the key change, except there's no G# to naturalize. The key bending sounds interesting and is a pretty satisfying ending. 
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