Piano Fingerings Database

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: I. mm. 116–118

Original:

Piano fingerings for Cello Sonata in G Minor, Op. 65, by Frédéric Chopin

Suggested performance:

“I prefer to uncross overlapping chords whenever possible.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, avoid crowding, redistribution

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: II. mm. 4–9

“Taking the alto notes in the left hand allows the right hand to use stronger fingers on the triplet.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, initial octave, redistribution, facilitate leap, isolate melody, use stronger fingers

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: II. mm. 245–48

“I take an extra note in the right hand where convenient.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, redistribution, facilitate leap

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: II. mm. 250–55

Piano fingerings for Sonata for Cello and Piano in G Minor, Op. 65, by Frédéric Chopin

“Taking the alto notes in the left hand allows the right hand to use stronger fingers on the triplet.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, isolate melody, use stronger fingers, redistributionComment

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: III. m. 27

“This fingering minimizes position shifts and looks nice.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, hand crossing, redistribution, avoid finger crossing, choreography

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: IV. mm. 1–2

“Taking the D in the left hand eliminates a leap out of the quick triplets.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, redistribution, facilitate leap, reduce position shifts

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: IV. mm. 76–77

“I find it easier to start passages like this with an octave in the right hand.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, initial octave, redistribution

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: IV. mm. 53–56

“The left hand is unencumbered with double notes and can assist the right hand.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, double notes, redistribution, divide more evenly between hands

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: IV. mm. 69–72

“No need to stress over these huge leaps when the F-sharps are within easy reach of the left hand. The configuration of the double notes in this passage require a slightly different distribution than earlier in the piece.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, double notes, facilitate leap, redistribution

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: IV. mm. 98–99

“The left hand accompaniment is already plenty wide. I find taking an extra note in the right hand is a relief.”

Submitted by Michael Clark

Published on 1/1/2020

Chamber MusicMichael ClarkJune 2, 2019Frédéric Chopin, Cello Sonata (Op. 65), Michael Clark, wide accompaniment pattern, redistribution, avoid finger crossing

COPLAND | Piano Variations: mm. 1-5

Piano fingerings for Piano Variations by Aaron Copland

“Dividing the theme between the hands in this way facilitates the sharp accents Copland desires.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, redistribution

COPLAND | Piano Variations: mm. 8–10

“Switching the E to the right hand eliminates a stretched position in the left hand. More compact positions allow a more forceful delivery.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, split large chord, redistribution, avoid stretch, maximize power

COPLAND | Piano Variations: mm. 47–48

“Taking the A in the left hand helps the right hand hold the tied notes without stretching.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, redistribution, avoid stretch

COPLAND | Piano Variations: mm. 54–55

“I prefer to take the A with the left hand, though in the follow measure I play the B and D with the right hand.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, redistribution

COPLAND | Piano Variations: mm. 78–81

“When the top staff has rests, I split the notes on the lower staff between the hands.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, redistribution, divide more evenly between hands

COPLAND | Piano Variations: mm. 337–39

“Taking the C-sharps in the right hand eliminates a stretch in the left hand. More compact positions allow a more forceful delivery.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, split large chord, redistribution, avoid stretch

COPLAND | Piano Variations: mm. 359–60

“Taking the C-sharp in the left hand reduces the stretch from a tenth to an augmented octave.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, split large chord, redistribution, avoid stretch

Copland: Piano Variations: mm. 365–68

“This fingering maximizes power by playing the low C-sharp with the thumb. This creates a leap to the remainder of the final LH chord which is facilitated by the RH taking the LH chord’s top C-sharp.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkApril 28, 2019Aaron Copland, Piano Variations, Michael Clark, maximize power, redistribution