Piano Fingerings Database

GERSHWIN | Rhapsody in Blue, Rehearsal 5

Piano fingerings for Rhapsody in Blue by George Gershwin

Submitted by Chelsea de Souza

Published on 4/11/2020

Piano ConcertoMichael ClarkDecember 20, 2018George Gershwin, Rhapsody in Blue, Chelsea de Souza, avoid crowding, redistributionComment

GERSHWIN | Prelude No. 1: mm. 61–62

Piano fingerings for Three Preludes by George Gershwin

“I like how this alternate fingering coordinates groupings in both hands. I recommend playing the last note with 1 or a fist.”

Submitted by Michael Clark

Published on 1/4/2022

Solo PianoMichael ClarkDecember 15, 2018George Gershwin, Three Preludes, Michael Clark, fingering only, scale, secure endingComment

GERSHWIN | Prelude No. 2: mm. 9–11

“Some pianists might be able to reach the tenths on beats 1 and 2 of m. 10, but the B-sharp is out of reach for most.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkDecember 15, 2018George Gershwin, Three Preludes, Michael Clark, avoid stretch, redistribution, avoid rollComment

GERSHWIN | Prelude No. 2: mm. 14–15

“I prefer to take the B and B-sharp in the right hand to allow the bass notes to sustain through pedal changes.”

Submitted by Michael Clark

Published on 1/4/2022

Solo PianoMichael ClarkDecember 15, 2018George Gershwin, Three Preludes, Michael Clark, redistribution, facilitate clearer pedalingComment

GERSHWIN | Prelude No. 3: mm. 49–50

“I take the A-flat with the right-hand thumb for maximum security.”

Submitted by Michael Clark

Published on 1/4/2022

Solo PianoMichael ClarkDecember 15, 2018George Gershwin, Three Preludes, Michael Clark, redistribution, thumb on two notes, facilitate leapComment

GERSHWIN | Prelude No. 3: mm. 57–58

“I find this arrangement of the notes between the hands more secure for the big finish.”

Submitted by Michael Clark

Published on 1/4/2022

Solo PianoMichael ClarkDecember 15, 2018George Gershwin, Three Preludes, Michael Clark, redistribution, arpeggios, secure endingComment

GINASTERA | Piano Sonata No. 1, Op. 22: I. mm. 30–35

Piano fingerings for Piano Sonata No. 1, Op. 22, by Alberto Ginastera

“Dividing these gestures between the hands makes them more powerful and more reliable.”

Submitted by Michael Clark with thanks to Logan Skelton

Published on 3/13/2020

Solo PianoMichael ClarkOctober 13, 2018Alberto Ginastera, Piano Sonata No. 1 (Op. 22), Michael Clark, maximize power, redistribution, divide more evenly between handsComment

GINASTERA | Piano Sonata No. 1, Op. 22: I. mm. 70–73

“The left hand is resting—no need to leap in the right hand for the F-sharp.”

Submitted by Michael Clark

Published on 3/13/2020

Solo PianoMichael ClarkOctober 13, 2018Alberto Ginastera, Piano Sonata No. 1 (Op. 22), Michael Clark, avoid finger crossing, redistribution, facilitate leap, two-hand startComment

GINASTERA | Piano Sonata No. 1, Op. 22: II. mm. 38–42

“Taking the the bottom notes of the right-hand octaves allows both hands to remain within a fifth. Any energy saved by using a more compact hand position is necessary in this fast and virtuosic movement.”

Submitted by Michael Clark

Published on 3/13/2020

Solo PianoMichael ClarkOctober 13, 2018Alberto Ginastera, Piano Sonata No. 1 (Op. 22), Michael Clark, fast chords, reduce position shiftsComment

GINASTERA | Piano Sonata No. 1, Op. 22: II. mm. 103–12

“I find that these patterns generally work well passing from left to right as the register shifts with the exception of m. 106 where I briefly alternate the hands.”

Submitted by Michael Clark

Published on 3/13/2020