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Composers All Composers Addinsell Albéniz Arditi Argento Bach Barber Bartók Beethoven Ben-Haim Bizet Bonds Boulanger Brahms Carter Chopin Copland Danielpour Debussy Donaudy Fauré Franck Gershwin Ginastera Granados Grieg Hahn Handel Haydn Hopekirk Ives Janáček Kaprávolá Liszt Martinu Mendelssohn Mozart Obradors Poulenc Price Prokofiev Rachmaninoff Ravel Rodrigo Rossini Saint-Saëns Sancan Schubert Schulhoff R. Schumann Scriabin Shostakovich Sisco Strauss Tchaikovsky Tosti Vaughan Williams Vine Weber Wolf ContributorsTechnical Categories Special Collections Brandwein's Ravel Fingerings Submit Ideas About How It Works Who We Are Search
Piano Tricks
fingerings reimagined
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
 
Piano fingerings for Piano Concerto in A Minor, Op. 54, by Robert Schumann

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

“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:

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

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

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

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

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

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

“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
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