facilitate articulation — Piano Fingerings Database

DANIELPOUR | Piano Fantasy ("Wenn ich einmall soll scheiden"): mm. 31–33

Piano fingerings for Richard Danielpour's Piano Fantasy ("Wenn ich einmall soll scheiden")

“I divide the septuplet between the hands in this way, finishing with the right-hand thumb to more reliably project the strong accent.”

Submitted by Michael Clark

Published on 3/8/2023

Solo PianoMichael ClarkMarch 5, 2019Richard Danielpour, Piano Fantasy ("Wenn ich einmal soll scheiden"), Michael Clark, redistribution, facilitate articulation, maximize power, hand crossingComment

PRICE | Valsette Mignon: mm. 33–35

“Taking the tenor D with the right-hand thumb in m. 34 helps me voice that line and maintain legato without pedal, which in turn facilitates a short articulation for end of the right-hand slur.”

Submitted by Michael Clark

Published on 1/5/2024

Solo PianoMichael ClarkJuly 31, 2017Florence Price, Valsette Mignon, Michael Clark, redistribution, Share Middle Voice Between Hands, improve legato, facilitate articulationComment

PRICE | Valsette Mignon: mm. 47–51

“Taking the tenor D with the right-hand thumb in m. 50 helps me voice that line and maintain legato without pedal, which in turn facilitates a short articulation for end of the right-hand slur.”

Submitted by Michael Clark

Published on 1/5/2024

Solo PianoMichael ClarkJuly 31, 2017Florence Price, Valsette Mignon, Michael Clark, redistribution, Share Middle Voice Between Hands, improve legato, facilitate articulationComment

PRICE | Scherzo in G Major: mm. 65–68

“I share this figure between the hands as Price indicates until m. 67 which I prefer to play mostly in the right hand for greater control of sound and articulation. This also ensures the left hand G can be played with a strong finger.”

Submitted by Michael Clark

Published on 1/5/2024

Solo PianoMichael ClarkJuly 29, 2017Florence Price, Scherzo in G Major, Michael Clark, redistribution, use stronger fingers, facilitate articulationComment

PRICE | Scenes in Tin Can Alley: II. Children at Play: mm.

“Taking the As as part of the right-hand chord allows the left-hand to more vigorously rip the triplet.”

Submitted by Michael Clark

Published on 9/3/2023

Solo PianoMichael ClarkJuly 5, 2017Florence Price, Scenes in Tin Can Alley, Michael Clark, redistribution, facilitate articulation, avoid finger crossing, reduce position shiftsComment

RACHMANINOFF | Etude-Tableau in E-flat Minor, Op. 39, No. 5: m. 26

Piano fingerings for Sergei Rachmaninoff's Etude-Tableau in E-flat Minor, Op. 39, No. 5

Submitted by Brian Marks

Published on 3/8/2023

Solo PianoMichael ClarkMay 11, 2017Sergei Rachmaninoff, Études-Tableaux (Op. 39), Brian Marks, redistribution, isolate melody, facilitate articulation, reduce position shiftsComment

RACHMANINOFF | Etude-Tableau in E-flat Minor, Op. 39, No. 5: m. 29

Submitted by Brian Marks

Published on 3/8/2023

Solo PianoMichael ClarkMay 11, 2017Sergei Rachmaninoff, Études-Tableaux (Op. 39), Brian Marks, redistribution, isolate melody, reduce position shifts, facilitate articulationComment

RAVEL | Le Tombeau de Couperin: Fugue: mm. 11–12

Piano fingerings for Fugue from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/3/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 61, 116.

61: “The articulation of two-note slurs is often indicated within Ravel's larger phrase structures. The following example shows the increased ease of execution of the melodic slurs when the left hand shares some of the notes written on the upper staff.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, separate polyrhythm, facilitate polyphony, facilitate articulationComment

RAVEL | Le Tombeau de Couperin: Fugue: mm. 35–37

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/3/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 62, 116.

61: “The articulation of two-note slurs is often indicated within Ravel's larger phrase structures. The following example shows the increased ease of execution of the melodic slurs when the left hand shares some of the notes written on the upper staff.”

Special Collection, Solo PianoMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, facilitate polyphony, separate polyrhythm, facilitate articulationComment

SANCAN: Sonatine pour flûte et piano: I. mm. 36–39

Piano fingerings for Sonatine for Flute and Piano by Pierre Sancan

“Splitting the notes this way can help make the staccato chords more crisp without the need of rolling them.”

Submitted by Wade Troyer

Published on 9/27/2022

Chamber MusicMichael ClarkJanuary 27, 2017Pierre Sancan, Sonatine pour flûte et piano (1946), Wade Troyer, avoid roll, avoid stretch, split large chord, facilitate articulation, redistributionComment

SANCAN: Sonatine pour flûte et piano: I. mm.43–44

“Splitting the notes this way can help make the staccato chords more crisp without the needing of rolling them.”

Submitted by Wade Troyer

Published on 9/27/2022

Chamber MusicMichael ClarkJanuary 27, 2017Pierre Sancan, Sonatine pour flûte et piano (1946), Wade Troyer, avoid roll, facilitate articulation, split large chord, avoid stretch, redistributionComment

R. SCHUMANN | Novellete in F-sharp Minor, Op. 21, No. 8: mm. 89–91

“It's very hard to play the left hand the way Schumann wrote it, especially to keep the staccato notes crisp. This solution simplifies it.”

Submitted by Michael Lenahan

Published on 12/16/2022

Solo PianoMichael ClarkOctober 13, 2016Robert Schumann, Novelletten (Op. 21), Michael Lenahan, redistribution, facilitate articulation, awkward passageworkComment

VAUGHAN WILLIAMS: On Wenlock Edge: I. mm. 5–6

“This fingering allows for a break in the slur between mm. 5 and 6. It should not sound like the figure is being slurred over the bar.”

Submitted by Timothy Jones

Published on 10/5/2023

Chamber MusicMichael ClarkDecember 31, 2015Ralph Vaughan Williams, On Wenlock Edge, fingering only, facilitate articulation, Timothy JonesComment

VAUGHAM WILLIAMS: On Wenlock Edge: I. mm. 10–11

“Using this fingering allows for the break of the slur over the bar line, which in turn allows the singer to prepare for the major sixth ascending leap to their higher register and place the downbeat.”

Submitted by Timothy Jones

Published on 10/5/2023

Chamber MusicMichael ClarkDecember 31, 2015Ralph Vaughan Williams, On Wenlock Edge, fingering only, facilitate articulation, Timothy JonesComment