Chamber Music — Piano Fingerings Database

BEN-HAIM: Three Songs Without Words: II. Ballad: mm. 53–55

“Taking the E-flat into the left-hand helps unclutter this crowded moment.”

Submitted by Michael Clark

Published on 5/24/2023

Chamber MusicMichael ClarkSeptember 30, 2019Paul Ben-Haim, Three Songs Without Words, Michael Clark, redistribution, avoid crowding, uncrossComment

BEN-HAIM: Three Songs Without Words: II. Ballad: mm. 77–80

“Taking the E-flats in the right hand allows the left hand to stay in a low position and avoid crowding the right-hand.”

Submitted by Michael Clark

Published on 5/24/2023

Chamber MusicMichael ClarkSeptember 30, 2019Paul Ben-Haim, Three Songs Without Words, Michael Clark, avoid crowding, redistributionComment

BEN-HAIM | Three Songs Without Words: II. Ballad: mm. 81–86

“Ben-Haim’s original note distribution creates awkward crowding between the hands. I use this distribution and position the right hand above the left hand.”

Submitted by Michael Clark

Published on 5/24/2023

Chamber MusicMichael ClarkSeptember 30, 2019Paul Ben-Haim, Three Songs Without Words, Michael Clark, redistribution, avoid crowdingComment

BEN-HAIM | Three Songs Without Words: II. Ballad: mm. 89–94

“The right-hand thumb is already position on the E-flat. This fingering reduces position shifts and allows for smaller hands to play all the notes of the final chord simultaneously.”

Submitted by Michael Clark

Published on 5/24/2023

Chamber MusicMichael ClarkSeptember 30, 2019Paul Ben-Haim, Three Songs Without Words, Michael Clark, reduce reach across body, avoid roll, avoid stretch, redistributionComment

BEN-HAIM | Three Songs Without Words: II. Ballad: mm. 107–10

“Redividing the middle notes alleviates the stretched position and eliminates crowding.”

Submitted by Michael Clark

Published on 5/24/2023

Chamber MusicMichael ClarkSeptember 30, 2019Paul Ben-Haim, Three Songs Without Words, Michael Clark, redistribution, avoid crowding, avoid stretchComment

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: I. mm. 29–32

Original:

Piano fingerings for Piano Trio in B Major by Johannes Brahms

Suggested performance:

“I find it easier to uncross the notes that overlap between the hands.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, redistribution, uncross, avoid crowding

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: I. mm. 68–69

“I find that taking the F-double sharp in the right hand is more reliable. My left hand can make the leap to D-sharp more accurately without worrying about getting to a white key after.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, redistribution, awkward passagework

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: I. mm. 112–15

“Using this fingering on the ascending arpeggio in the right hand leads smoothly into the octaves. On the descent, I prefer to start with an octave in the right hand so that the left hand can start with 1 on D.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, initial octave, redistribution, reduce position shifts

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: I. mm. 164–65

“Taking the top note of the first few sixths in the right hand eliminates the large leap in the left hand. This redistribution feels much more secure to me.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, redistribution, facilitate leap

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: II. mm. 4–12

“Starting with two hands helps me get this challenging movement off on the right foot. Taking the low F-sharp in m. 10 in the left hand gives more fingering flexibility for the repeated notes.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, repeated notes, redistribution, two-hand start

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: II. mm. 23–25

“Taking the final C-sharp as an octave in the left hand gives the right hand extra time to move to the next position.”

Submitted by Michael Clark

Published on 1/3/2022

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), Michael Clark, redistribution, facilitate leapComment

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: II. mm. 29–33

“The pedal is all the way down on this sudden fortissimo. There’s no reason not to get both hands involved.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 28, 2019Johannes Brahms, Piano Trio in B Major (Op. 8), arpeggios, Michael Clark, redistribution

BRAHMS | Piano Trio No. 1 in B Major, Op. 8: II. mm. 63–64

“Taking the final G-sharps as an octave lets the left hand prepare for the next measure slightly earlier. Every little moment helps, and it’s easier to stagger the position shifts in the left and right hands.”

Submitted by Michael Clark

Published on 1/1/2020