“This fingering/hand grouping lets the hands move at different times to play the sextuplet, according to where the lines appear in the groupings. For left hand, hold thumb and release the lower note of the third, and 4 and 5 can find the next minor 2nd easily, letting your eyes focus on the right hand's jump at the same time.”
Submitted by Gabe Merrill-Steskal
Published on 3/21/2020
“This unorthodox fingering is no more difficult to master than more traditional fingerings, but it also has the advantage of making Beethoven's original articulations come out clearly and effortlessly.”
Submitted by Noah Sonderling with thanks to Elisabeth Wright
Published on 10/4/2020
“The use of the thumb for the seconds in the right-hand makes this passage easy to ‘throw off.’ As an added bonus, using the thumb (rather than 1-2) for the dyad keeps my hand in an open position (rather than a contracted position), which makes the passagework in m. 69 feel more comfortable.”
Submitted by Sarah Rushing
Published on 3/8/2023
“Ending the eighth-note run on finger 1 brings the right hand closer to the next position.”
Submitted by Michael Clark
Published on 1/3/2022
“This fingering prioritizes a secure arrival on the final chord by placing 1 on the G two sixteenths earlier.”
Submitted by Michael Clark
Published on 1/3/2022
“Using 3-2-1 in both hands for each four-note group eliminates confusion and ensures a bold declamation.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/3/2022
“The fingering for this passage works best for me when I break it into three positions of four notes each.”
Submitted by Michael Clark
Published on 7/30/2021
“I like how this alternate fingering coordinates groupings in both hands. I recommend playing the last note with 1 or a fist.”
Submitted by Michael Clark
Published on 1/4/2022
“This fingering helps me highlight the accented melody with stronger fingers.”
Submitted by Michael Clark
Published on 1/5/2024
“This fingering minimizes the shifts between in each chord in this quick and thickly written passage.”
Submitted by Michael Clark
Published on 10/14/2023
“This is a perfect time to use 1 on black keys—it simplifies the positions in both hands, eliminating extra shifts.”
Submitted by Michael Clark
Published on 1/22/2023
“I don’t mind start with 1 on a black key when it facilitates a consistent fingering pattern.”
Submitted by Michael Clark
Published on 1/3/2021
“Hammering the upper notes with the thumb helps the student resist playing this passage legato, and keeps the hand open for the upcoming passage in ninths.”
Submitted by Sam Welsh
Published on 3/26/2020
“The most straightforward way to play the double notes would be 5-3 4-2 3-1. However, using 5-1 4-2 3-1 provides better support and power to execute the accents. It also improves the clarity and prevents potential sloppiness.”
Submitted by Jimmy Cheung
Published on 4/27/23
“I alternate fingers 4 and 3 in the second measure to prevent kinetic confusion.”
Submitted by Seolyeong Jeong
Published on 8/23/2021
“I start every left-hand fingering group with 1 to prevent confusion.”
Submitted by Seolyeong Jeong
Published on 8/23/2021
“The unusual two-over-thumb (thumb on a black key) secures the upper third (a, c#), especially for people without very large hands or with a short pinky.”
Submitted by Jörg Winter
Published on April 27, 2023
Fingerings in Italics are Rachmaninoff’s.
“I chose these fingerings to correspond to the musical phrase/accents.”
Submitted by Seolyeong Jeong
Published on 8/23/2021