My only tips: hunt down Chopin's fingerings. There is a copy of the first page of Chopin's corrections in Eigeldinger. Mikuli has some rather weird cheater fingerings - the sort of fingerings that come from being good enough that you don't need to use the right fingerings.
I disagree with the premise of this statement and offer a different opinion. Fingering is partly a personal matter, because what is good for the anatomy of one person's hand is not necessarily
the same for another person's hand. I would say that one should consider
any given fingering, and that there are certain principles which apply in most cases, but there is no "right" fingering that should be used by everyone
. Fingering is entirely artificial to music
. One never listens to a passage and thinks fingerings
. The important thing is for a pianist to have been taught good principles (which is not a sure thing) and to have been demonstrated (by their good teacher(s)) sufficient examples of the applications of such principles such that they develop good principles themselves. It is a sad situation if a pianist depends solely on the fingerings indicated in a score; that would seem to suggest a certain lack of skill and development. Consider for a moment that one can buy several different authoratative editions of Chopin's works and they will not have the same fingerings! Or, you can watch and compare the performances of several world class concert artists performing the same work, and the performances will demonstrate different approaches to the score, including fingering and even which hand is playing what. (This is difficult to appreciate unless you are intimately knowledgable with the work in question). I will agree with Terez to the degree that one can have developed such principles to the degree that other approaches may seem horrible, or "cheater" fingerings, but I have NEVER totally played the exact
fingering in a score no matter whose it was. There was (and is) always some refinement that I find to be more efficient and/or effective. You, jaggens, should seek the same. BTW, one of the most effective
practicing techniques you can do (after having selected an efficient fingering) is to practice the RH in rhythms
. A few to apply as a pattern for the four 16th notes per beat: long-short-long-short, short-long-short-long, 8th-triplet 16ths; 16th triplet-8th; Then in triplet rhythm: two 16ths-8th-8th, 8th-two 16ths-8th, 8th-8th-two 16ths. This will systematically reveal every weakness and difficulty and give it the focused work it needs. Good luck!