This isn't really a question about technique, but just an observation. I've been working on Bach's 6th partita in e minor (which Felipe submitted fairly recently) for a long time now, but I just recently started working on the gavotte because I had a sort of complex about it (due to trying to sight-read it over ten years ago when I thought it was supposed to be 3 against 4 polyrhythm, and I'd never even tried to play 3 against 4 before so the experience traumatized me a bit).
Anyway, I finally got over it since the recital is coming up and I've learned all the other movements so I couldn't ignore it any more. And I'm really enjoying it. In particular, the bouncing of the dotted eighth/sixteenth figures (which are meant to be aligned with the triplets, so I'm told), and how, because of that figuration, the piece really feels like a dance when you're playing it (and I imagine that the same lifting technique would be used on a harpsichord even though the instrument doesn't have the percussive advantage of the piano). The courante and the gigue really made me feel the same way (the air, sarabande, and allemande less so), so it was nice to get this feeling right off with the gavotte (only been working on it about two weeks now).
Anyway, I've sort of marked the articulation of the dance figure, and there's an example here of a technical difficulty that surprised me. It seems like the sort of thing that is so simple that I should have gotten over years ago, but apparently I've never had to do it before:
The technical problem didn't exist until I started using the lifting technique with the dotted figures (and that technique improves the feel of the piece in every way - it feels better, the technique itself is easier, fingering problems disappear, and it sounds better).
Anyway, as you can see, in the second measure (m. 10), the left hand has the dotted figures, starting on beat 3, and the right hand has a scalar passage with repeated notes. And of course, the only real way to play that properly is to change fingers on the repeated note. You might choose any number of fingerings, but in pretty much everything you could choose, it requires you to lift your hand between the repeated notes to change fingers.
Meanwhile, the left hand has already been lifted, and is falling at the same instant that the right hand is lifting.
Same thing at the end of the B section:
So, I could cheat and ease with the lifting during those passages, but I won't - I'm already starting to adapt. It was just such a simple thing that I can't believe I've made it this far without ever having come across it before.