Piano Fingerings Database

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 674–85

“The B-flat major arpeggio is particularly awkward. Taking the top B-flat in the right hand helps a little.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, wide arpeggio, redistribution, awkward passagework, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 686–93

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

“In this passage I recommend taking only the initial G-flat as an octave.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, redistribution, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 777–78

“I recommend starting the ornament early.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 8/5/2021

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, fingering only, ornament, Op. 54–2Comment

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 795–802

“Keeping a relatively consistent pattern of strong fingers in spite of the configuration of black keys simplifies this passage mentally and facilitates a singing sound.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 8/5/2021

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, fingering only, use stronger fingers, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 807–11

“I find using ‘double thumbs’ absolutely essential in this treacherous passage.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, double 5, double thumb, fingering only, awkward passagework, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 820–30

“This fingering uses fewer hand positions and eliminates a treacherous leap.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), arpeggios, Michael Clark, facilitate leap, redistribution, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 843–47

Original:

Suggested performance:

“The broken octaves in the right hand can be performed as octaves in the left 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, broken octaves, redistribution, alternating hands, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 843–47

“This distribution facilitates the leaps and is more legato.”

Submitted by Michael Clark

Published on 4/18/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, broken octaves, facilitate leap, improve legato, redistribution, Op. 54–2Comment

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 877–82

“This is a no-brainer to lessen the span of 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, wide arpeggio, redistribution, avoid finger crossing, Op. 54–2

R. SCHUMANN | Piano Concerto in A Minor, Op. 54: III. mm. 971–75

“This distribution of notes feels more comfortable in such a high register.”

Submitted by Michael Clark

Published on 1/1/2020

Piano ConcertoMichael ClarkOctober 6, 2016Robert Schumann, Piano Concerto in A Minor (Op. 54), Michael Clark, avoid finger crossing, double thumb, reduce position shifts, redistribution, Op. 54–2

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

SHOSTAKOVICH | Piano Concerto No. 2 in F Major, Op. 102: III. 296–98

“Redistributing as indicated here requires less shifting.”

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, 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