At first I concurred with pianist/teacher Benjamin Steinhardt that rolling the C broken octave (or tremolo) forward, for example, might best benefit the execution of it in fast motion. But I came to the conclusion that it’s not mandatory in any sense to ride up the key. (on the C broken octaves)

In fact, there are no hard and fast rules about playing tremolos since physiology of the hand, and octave span of individual players are varied.

Here’s what I found most relevant to playing the alla breve section of Beethoven’s Sonata “Pathetique” with its redundant bass tremolos.

First I played solid octaves, and thought in TWO while simultaneously playing the melody. (Musically, I thought of 2 beats per measure not 4 as comported with the composer’s metrical indication)

Naturally, I aimed to shape the bass octaves and treble line in a musical and dynamic way.

This preliminary better clarified how my hands would work TOGETHER when I unraveled the bass octaves.

In this regard I recommend separately playing the octaves while SINGING the melody above.

OR one can play the melody separately while singing the bass line.

This is a more parceled approach to the whole tremolo permeated section which should help advance the learning process by increments.

By far what’s most important is arm and wrist relaxation, and making sure the thumbs don’t tighten but drift naturally with the hand. Little dips of energy to sustain the tremolo over many measures are also helpful.

Here are thoughtful suggestions uploaded by colleague, Benjamin Steinhardt:

And a supplement contributed by Jackie Sharp

LINK:

My Additional Beethoven “Pathetique” extract: