Piano Fingerings Database

JANACEK | Sonata for Violin and Piano: III. 80–82

Piano fingerings for Violin Sonata by Leos Janacek

“Taking the C-flats in the right hand keeps the reach within an octave.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, avoid stretch, redistribution, Violin Sonata (1914)Comment

JANACEK | Sonata for Violin and Piano: IV. mm. 1–2

“Taking the B in the left hand allows each hand to remain in position.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, reduce position shifts, redistribution, Violin Sonata (1914)Comment

JANACEK | Sonata for Violin and Piano: IV. mm. 21–22

“Taking these notes in the right hand helps differentiate the voices and eliminates the need to stretch or leap to them.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, improve voicing, wide accompaniment pattern, redistribution, Violin Sonata (1914)Comment

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

“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

JANACEK | Sonata for Violin and Piano: IV. mm. 73

“Taking the final F in the right hand makes the leap easier.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, facilitate leap, redistribution, Violin Sonata (1914)Comment

JANACEK | Sonata for Violin and Piano: IV. mm. 84–85

“I can articulate these rapid notes more clearly with this redistribution.”

Submitted by Michael Clark

Published on 3/15/2020

Chamber MusicMichael ClarkMarch 15, 2018Leos Janacek, Michael Clark, reduce position shifts, redistribution, Violin Sonata (1914)Comment

KAPRÁVOLÁ | Sonata Appassionata, Op. 6: I. mm. 18–20

Piano fingerings for Sonata Appassionata by Vítězslava Kaprálová

“A redistribution is suggested in m. 19, where the last two notes of the ascending ‘helix’ are taken in the right hand, allowing left hand more time to navigate the leap.”

Submitted by Asher Armstrong

Published on August 22, 2022

Solo PianoMichael ClarkMarch 8, 2018Vítězslava Kaprálová, Asher Armstrong, Sonata Appassionata (Op. 6), redistribution, facilitate leapComment

KAPRÁVOLÁ | Sonata Appassionata, Op. 6: mm. 23–25

“A redistribution is suggested in m. 24, where the last two notes of the ascending ‘helix’ are taken in the right hand, allowing left hand more time to navigate the leap.”

Submitted by Asher Armstrong

Published on August 22, 2022

Solo PianoMichael ClarkMarch 8, 2018Vítězslava Kaprálová, Asher Armstrong, Sonata Appassionata (Op. 6), facilitate leap, redistributionComment

LISZT | Sonetto 104 del Petrarca: mm. 1–4

Piano fingerings for Sonetto 104 del Petrarca by Franz Liszt

“The bottom note of the tied octave can be released, allowing the right-hand thumb to take the top note of the left-hand tenth. This helps reduce the number of rolled chords.”

Submitted by Michael Clark with thanks to Jennifer Hayghe

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Michael Clark, split large chord, redistributionComment

LISZT | Sonetto 104 del Petrarca: m. 6

“Taking the alto voice in the left hand frees the right to use stronger fingers on the ornamental figure.”

Submitted by Michael Clark with thanks to Jennifer Hayghe

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Michael Clark, ornament, redistribution, use stronger fingersComment

LISZT | Sonetto 104 del Petrarca: mm. 9–10

“The top note of this especially wide chord can be played with the right hand.”

Submitted by Michael Clark with thanks to Jennifer Hayghe

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Michael Clark, split large chord, wide accompaniment pattern, redistribution, avoid finger crossingComment

LISZT | Sonetto 104 del Petrarca: mm. 15–20

“This tenor melody can be shared between the hands for maximum legato.”

Submitted by Michael Clark with thanks to Craig Nies

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Share Middle Voice Between Hands, Michael Clark, improve legato, redistributionComment

LISZT | Sonetto 104 del Petrarca: mm. 36–37

“This chord involves an awkward layout of black and white keys and is more easily played with the left-hand taking the lowest note.”

Submitted by Michael Clark with thanks to Jennifer Hayghe

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Michael Clark, split large chord, redistribution, avoid stretchComment

LISZT | Sonetto 104 del Petrarca: mm. 52–53

Fingerings in Italics are Liszt’s.

“I find that this hand distribution on the arpeggio feels good and looks good.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, arpeggios, Michael Clark, double notes, redistributionComment

LISZT | Sonetto 104 del Petrarca: mm. 61–62

“I like to split some of the octaves between the hands for a more legato effect.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkFebruary 25, 2018Franz Liszt, Sonetto 104 del Petrarca, Michael Clark, split octaves, redistributionComment

LISZT | Sonetto 104 del Petrarca: mm. 67–68

“Crossing the left hand over the right to play the C-sharp adds a visual flourish and divides the chords into more manageable positions in each hand.”

Submitted by Michael Clark with thanks to Jennifer Hayghe

Published on 1/1/2020