Piano Fingerings Database

CHOPIN | Nocturne in E Major, Op. 62, No. 2: mm. 78–79

Piano fingerings for Nocturne in E Major, Op. 62, No. 2, by Frédéric Chopin

“Taking the double-stemmed note in the left hand helps to voice it distinctly from the other notes in the arpeggio.”

Submitted by Michael Clark

Published on 1/1/2020

Solo PianoMichael ClarkJune 4, 2019Frédéric Chopin, Nocturne (Op. 62/2), Michael Clark, hand crossing, redistribution, improve voicing

CHOPIN | Sonata for Cello and Piano in G Minor, Op. 65: I. mm. 16–17

“I find it easier to begin 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: I. mm. 107–8

“These redistributions favor compact hand positions and minimal position shifts to maximize efficiency on this extremely fast and dense passage.”

Submitted by Michael Clark with thanks to Nancy Weems

Published on 1/1/2020

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

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