A few people recommended it to me to help me in studying opus 10-1. This may seem like an immature question but right when I glanced at the page and began to sightread I was confused.
The notes of the left hand are (I believe) in two triplets : CGE, ECA,, and the triplet in the right hand: RestGC, GA, is this correct? I know that there are different ways of notation in music but I always thought that when the stem was downward in an akward fashion on the treble clef the left hand play it, and if that was true I would have to jump to the g octave after my left hand c which seems impossible, And yet even if what I think is correct, after the first triplet I would have to fly to the e on the second triplet which would be quite difficult, but managable.

Does that make sense? I doubt it but oh well.

If I'm guessing correctly you're talking about Chopin, and his first prelude. If not, I can't help you.

But in that piece, no, just because the stem is pointing downwards doesn't mean your left hand plays it. The stem direction is determined usually by the position of the note. Chopin merely used it to put an emphasis on it.

Has to be Chopin, right? What other Op 28 No 1 is in C major?

In the opening bars, the only notes played by the LH are (bar 1): C,G,E (rest), and (bar two)B,G,F. etc., throughout the whole piece. Everything else is played with the RH.

The E,C,A, you refer to in bar 1 are played by the RH. The reason for the notation with downward and upward stems in the RH is that the upward-stemmed octaves represent the "melody" and the downward stems in the RH represent an accompaniment figure. Don't try to play these with the LH.

If you look at your score carefully, you'll see that the first RH note at the beginning of each bar is held through the second beat, only to be lifted to play the last note of the bar.

Regards,

Yeah, the differently pointed stems are to indicate the harmony parts as opposed to the melody parts, which in this case are played by the same hand. I used to think that upward stems meant RH and downward meant LH, but that' not always the case - in fact it usually isn't the case. What it comes down to is that the composer is usually trying to denote a musical line by "like-stemmed" notes.