split 3-voice octaves — Piano Fingerings Database

BEETHOVEN | Sonata in A-flat Major, Op. 110: III. mm. 24–25

Piano fingerings for Piano Sonata in A-flat Major, Op. 110, by Ludwig van Beethoven

“Splitting the octaves this way facilitates a legato connection.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkOctober 2, 2019Ludwig van Beethoven, Michael Clark, split 3-voice octaves, redistribution, Piano Sonata in A-flat Major (Op. 110), improve legato

BRAHMS | Sonata in F Minor for Clarinet and Piano, Op. 120, No. 1: I. 1–4

Piano fingerings for Sonata for Clarinet and Piano, Op. 120, No. 1, by Johannes Brahms

“Dividing these octaves between the hands facilitates legato without excessive pedal.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkAugust 2, 2019Johannes Brahms, Clarinet Sonata in F Minor (Op. 120/1), Michael Clark, split 3-voice octaves, redistribution, improve legato

JANACEK | Sonata for Violin and Piano: IV. mm. 27–33

Piano fingerings for Violin Sonata by Leos Janacek

“These notes in the alto line are all within easy reach of the left hand and allow for a more legato performance of the octaves.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, reduce position shifts, split 3-voice octaves, redistribution, improve legato, Violin Sonata (1914)Comment

MOZART | Concerto No. 9 in E-flat Major, K. 271: I. mm. 192–94

Piano fingerings for Concerto No. 9 in E-flat Major, K. 271 (“Jeunehomme”) by Wolfgang Amadeus Mozart

“I like the legato I can produce with this fingering.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 28, 2017Wolfgang Amadeus Mozart, Michael Clark, improve legato, split 3-voice octaves, redistribution, Piano Concerto in E-flat (K. 271)

MOZART | Concerto No. 9 in E-flat Major, K. 271: I. mm. 196–7

“I like to divide the work more evenly between the hands.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 28, 2017Wolfgang Amadeus Mozart, Michael Clark, improve legato, split 3-voice octaves, redistribution, Piano Concerto in E-flat (K. 271)

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: I. mm. 185–7

Piano fingerings for Piano Concerto in A Minor, Op. 54, by Robert Schumann

“The A-flat falls comfortably in the right hand.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, reduce position shifts, split 3-voice octaves, redistribution, Op. 54–I

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: I. mm. 189–91

“I prefer to take the F as a left hand octave for a more secure arrival on the right-hand chord.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, reduce position shifts, split 3-voice octaves, redistribution, Op. 54–I

SHOSTAKOVICH | Piano Concerto No. 2 in F Major, Op. 102: III. 254–57

Piano fingerings for Piano Concerto No. 2 in F Major, Op. 102, by Dmitri Shostakovich

“Taking some octaves in the right hand lessens the distance of the shifts.”

Submitted by Michael Clark

Published on 3/15/2020

Piano ConcertoMichael ClarkJune 15, 2016Dmitri Shostakovich, Piano Concerto No. 2 in F Major (Op. 102), Michael Clark, reduce position shifts, split 3-voice octaves, redistributionComment

SHOSTAKOVICH | Piano Concerto No. 2 in F Major, Op. 102: III. 274–77

“Taking right hand octaves as indicated reduces the number of position shifts.”

Submitted by Michael Clark

Published on 3/15/2020

Piano ConcertoMichael ClarkJune 15, 2016Dmitri Shostakovich, Piano Concerto No. 2 in F Major (Op. 102), Michael Clark, reduce position shifts, split 3-voice octaves, redistributionComment

TCHAIKOVSKY | Piano Concerto No. 1 in B-flat Minor, Op. 23: I. mm. 58–60

“The numerous instances like these throughout the movement free up the right hand to be more legato and to more easily follow the melodic inflection.”

Submitted by Bill Brown with thanks to Menahem Pressler

Published on 5/15/2020

Piano ConcertoMichael ClarkFebruary 15, 2016Pyotr Ilyich Tchaikovsky, Piano Concerto No. 1 in B-flat Minor (Op. 23), redistribution, split 3-voice octaves, improve legato, William BrownComment

TCHAIKOVSKY | Piano Concerto No. 1 in B-flat Minor, Op. 23: I. mm. 94–95

“The numerous instances like these throughout the movement free up the right hand to be more legato and to more easily follow the melodic inflection.”

Submitted by Bill Brown with thanks to Menahem Pressler

Published on 5/15/2020

Piano ConcertoMichael ClarkFebruary 15, 2016Pyotr Ilyich Tchaikovsky, Piano Concerto No. 1 in B-flat Minor (Op. 23), redistribution, split 3-voice octaves, improve legato, William BrownComment

TCHAIKOVSKY | Piano Concerto No. 1 in B-flat Minor, Op. 23: I. mm. 98–100

Piano fingerings for Piano Concerto No. 1 in B-flat Minor, Op. 23, by Pyotr Ilyich Tchaikovsky

“The numerous instances like these throughout the movement free up the right hand to be more legato and to more easily follow the melodic inflection.”

Submitted by Bill Brown with thanks to Menahem Pressler

Published on 5/15/2020

Piano ConcertoMichael ClarkFebruary 15, 2016Pyotr Ilyich Tchaikovsky, Piano Concerto No. 1 in B-flat Minor (Op. 23), redistribution, split 3-voice octaves, William BrownComment

TCHAIKOVSKY | Piano Concerto No. 1 in B-flat Minor, Op. 23: I. mm. 115–16

“The numerous instances like these throughout the movement free up the right hand to be more legato and to more easily follow the melodic inflection.”

Submitted by Bill Brown with thanks to Menahem Pressler

Published on 5/15/2020

Michael ClarkFebruary 15, 2016Pyotr Ilyich Tchaikovsky, Piano Concerto No. 1 in B-flat Minor (Op. 23), redistribution, split 3-voice octaves, improve legato, William BrownComment