Piano Fingerings Database

SCRIABIN | Prelude in B Major, Op. 11, No. 11: mm. 19–24

Piano fingerings for Prelude in B Major, Op. 11, No. 11, by Alexander Scriabin

“These distributions prevent unnecessarily large shifts in position in both hands.”

Submitted by Michael Clark

Published on 3/15/2020

Solo PianoMichael ClarkAugust 15, 2016Alexander Scriabin, Preludes (Op. 11), Michael Clark, split large chord, wide accompaniment pattern, redistribution, Op. 11–11Comment

SCRIABIN | Prelude in G-flat Major, Op. 11, No. 13: m. 5

“I find this fingering gives me more control over the sound of the various lines.”

Submitted by Michael Clark

Published on 3/15/2020

Solo PianoMichael ClarkAugust 15, 2016Alexander Scriabin, Preludes (Op. 11), Michael Clark, improve legato, improve voicing, redistribution, Op. 11–13Comment

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

SISCO | Missed Connections: I. Flowers on the A Train to 14th Street: m. 3

“I like to divide the groups of seven in a consistent pattern.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkMay 13, 2016David Sisco, Missed Connections, Michael Clark, art song, redistribution, divide more evenly between handsComment

SISCO | Missed Connections: IX. Endless-summer-taco-man: mm. 19–21

Piano fingerings for Endless-summer-taco-man from Missed Connections by David Sisco

“Dividing the run this way enables a more secure arrival at the D-sharp octave.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkMay 13, 2016David Sisco, Missed Connections, Michael Clark, art song, redistributionComment

STRAUSS | Eight Poems, Op. 10: I. Zueignung: mm. 18–19

Piano fingerings for Zueignung, Op. 10, No. 1, by Richard Strauss

“Taking the low A in the left hand ensures the accuracy of the octave leap.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Eight Poems (Op. 10), Michael Clark, art song, facilitate leap, redistributionComment

STRAUSS | Eight Poems, Op. 10: VIII. Allerseelen: mm. 12–13

Piano fingerings for Allerseelen, Op. 10, No. 8, by Richard Strauss

“The top notes of the left-hand line are already being played by the right hand, so no need for the left hand to shift.

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Eight Poems (Op. 10), Michael Clark, art song, double thumb, reduce position shifts, redistribution, AllerseelenComment

STRAUSS | Eight Poems, Op. 10: VIII. Allerseelen: mm. 21–24

“Often the highest notes of the left hand line is already within the right hand’s grasp, so I prefer to let the right hand play them.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Eight Poems (Op. 10), Michael Clark, art song, reduce position shifts, redistribution, AllerseelenComment

STRAUSS | Five Songs, Op. 15: V. Heimkehr: mm. 1–4

“The upper notes of the arpeggios fall directly in the right hand’s position.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, reduce position shifts, redistribution, HeimkehrComment

STRAUSS | Five Songs, Op. 15: V. Heimkehr: mm. 11–12

Piano fingerings for Heimkehr, Op. 15, No. 5, by Richard Strauss

“I prefer to take the top of the arpeggio as a triad to avoid crossing again in the left hand.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, art song, reduce position shifts, redistribution, avoid finger crossing, HeimkehrComment

STRAUSS | Four Songs, Op. 27: II. Cäcilie: mm. 4–6

“The G-sharp is already being played by the right hand—no need to add an extra crossing in the left hand to play it.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, reduce position shifts, avoid finger crossing, CäcilieComment

STRAUSS | Four Songs, Op. 27: II. Cäcilie: mm. 11–16

Piano fingerings for Cäcilie, Op. 27, No. 2, by Richard Strauss

“Where possible, I like to take the tops of arpeggios that reach high into the treble staff with the right hand.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, redistribution, CäcilieComment

STRAUSS | Four Songs, Op. 27: II. Cäcilie: mm. 38–39

“I find it more comfortable to end the right hand with a finger crossing than to start the left hand with one.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, redistribution, CäcilieComment

STRAUSS | Four Songs, Op. 27: II. Cäcilie: mm. 48–50

“As often happens in Strauss, the left reaches to a note the right hand is already playing. Why not have the right hand play it?”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, reduce position shifts, CäcilieComment

STRAUSS | Three Songs, Op. 29: II. Schlagende herzen: mm. 46–53

Piano fingerings for Schlagende Herzen, Op. 29, No. 2, by Richard Strauss

“Taking this dyad in the left hand eliminates position shifts in the right hand.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Three Songs (Op. 29), Michael Clark, art song, reduce position shifts, redistributionComment

STRAUSS | Five Songs, Op. 48: II. Kling: mm. 8–15

“I find some of these arpeggios more comfortable when taken hand over hand.”

Submitted by Michael Clark

Published on 4/13/2020

Art SongMichael ClarkApril 13, 2016Richard Strauss, Michael Clark, arpeggios, art song, redistribution, KlingComment