Beginner seeks fingering advice

[leonbloy]

I'd like to get opinions about my fingering of the following simple piece (right hand). I'm specially concerned about  the sequence 5-4-3 in the 5-th measure (marked red). I have rather long and thin fingers, my 5-th finger is clumsy at the black keys (tends to hit the keys too strongly) and i find difficult to press that sequence 5-4-3 at even speed and strength. I wonder if, in this piece I should try another fingering, and, more in general, if in these cases, I should rather keep the "difficult" fingering so as to practice and get confortable  with it.
I'm also unsure about the fingering in the next (6-th) measure.

[ajspiano]

if you want to try something different..

use 1 3 2 1 3 2 1 2 in bar 5, i would also consider using 3 for the last note of that bar rather than 2.

[j_menz]

use 1 3 2 1 3 2 1 2 in bar 5

That's the fingering I'd use.  That said, some of my fingering has been known to reduce less stalwart piano teachers to fits of frustrated weeping.

If the problem is not one of actually consistently hitting the notes, but rather that you cannot generate the required dynamics when you get there, I'd practice with the fingering as given.  There are plenty of pieces where you will not have the option of avoiding using your fifth finger on a black key in this sort of configuration, and you might as well use this as an opportunity to get it right.

[ajspiano]

and you might as well use this as an opportunity to get it right.

This is fair - I certainly don't have any trouble with the fingering in your image, though it is definitely going to be more difficult than 132132 for someone with less practice under their belt.

There are other factors that can effect fingering choice too..  it can depend on the sound you're trying to achieve for the phrase as a whole..

[leonbloy]

Yes, that's better. Thanks!

[lostprin36]

All of these are good advice for you. If you need something more then I think you would better to talk with someone piano specialist directly.

[quantum]

When a piece contains repetitive figures I generally like to keep the fingering as uniform as possible.  If one chooses a different fingering for the various iterations of similar motivic cells, one can possibly become confused during performance on which fingering variant to use.  A generally uniform application of fingering for a given motivic cell, with considerations for slight variations according to the circumstances, allows for a much more organized manner of execution.  

As an example: Note bar 5 and bar 7 contain very similar RH motifs.  The printed fingering does reflect this to some degree.  

Starting at bar 5 my suggestion would be as follows:
454 354 32   54 21 23   454 343 232   1

 
Elaborating on the alternate suggestion posted earlier, starting at bar 5:
132 132 13   54 21 23   143 232 132   1


Regarding bar 6.  It is much easier to place a skip (an interval greater than a 2nd) between fingers 2 and 3 than it is between 3 and 4.