Piano Fingerings Database

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

Original:

Suggested performance:

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

“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

SCRIABIN | Prelude in A Major, Op. 11, No. 7: mm. 1–4

Piano fingerings for Prelude in A Major, Op. 11, No. 7, by Alexander Scriabin

“The lowest notes of the inner voice can be taken with the left hand to facilitate leaps in the right hand.”

Submitted by Michael Clark

Published on 3/15/2020

Solo PianoMichael ClarkAugust 15, 2016Alexander Scriabin, Preludes (Op. 11), Michael Clark, avoid stretch, reduce position shifts, redistribution, facilitate leap, Share Middle Voice Between Hands, Op. 11–7Comment

SCRIABIN | Prelude in A Major, Op. 11, No. 7: mm. 17–23

“Taking some notes of the inner voice with the left hand allows better fingering in the right hand.”

Submitted by Michael Clark

Published on 3/15/2020

Solo PianoMichael ClarkAugust 15, 2016Alexander Scriabin, Preludes (Op. 11), Michael Clark, avoid stretch, reduce position shifts, redistribution, Op. 11–7Comment

SCRIABIN | Prelude in B Major, Op. 11, No. 11: mm. 1–2

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

“The left hand often reaches directly into the hand position of the right hand. It’s simpler to have the right hand play these notes.”

Submitted by Michael Clark

Published on 3/15/2020

Solo PianoMichael ClarkAugust 15, 2016Alexander Scriabin, Preludes (Op. 11), Michael Clark, reduce position shifts, wide accompaniment pattern, redistribution, Share Middle Voice Between Hands, Op. 11–11Comment

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

“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