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by kashunstva
1696 days ago
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I'm a collaborative pianist by profession. The discussion of fingering here is interesting. Much can be said about fingering but first and foremost it has to serve the musical intent and I would be surprised if any algorithm could surface those intents because (thankfully) they come from a place that is highly personal and emotive, e.g. the 1st finger (thumb) doesn't belong here because it's too heavy and falls on the end of a delicate appoggiatura. That said, many fingering choices are practical and dictated by the geography of the keyboard and the oddities of our hand anatomy. Armed with a knowledge of the fingering of all of the major and minor scales, the patterns and paradigms encountered in actual compositions become clearer. I recommend MacFarren's scale book but there are others. Beyond pattern recognition and an attempt to understand the musical intent, there's just trial and error. When approaching a new work, I'll spend quite a bit of time trying options in ambiguous passages. It's time well-spent. Pro-tip: don't write in every single finger number. It creates too much visual distraction on the page. Write in only when there's an inflection point. If you have a descending passage in the RH that is 5-4-3-2-1-3-2-1, let's say, just write the 5...1-3 or possibly just 5...3. String players are the absolute best at this concept, only annotating finger numbers when there's a shift of position or an odd extension. |
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