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When deciding the fingering for a passage of music there will usually be a choice and no single fingering will be without its advantages or disadvantages.
The thumb is a shorter finger and is, therefore, not the first candidate for playing the black notes but there are many occasions - from repertoire of all periods - when the thumb is the most sensible finger to use on a particular black note. In all aspects if piano playing it makes sense to be economical with movement and the planning of hand positions and their changes is vital to reliable performance. Once such a fingering is planned it can be very effectively practised by treating each hand position as a chord and practising jumping from one chord to the next.
Similarly in the second position the hand must contract a little in order to play the FGAGF before expanding once more to play the last six notes of the position. The thumb and 5th finger are significantly shorter than the other fingers and this means that if they are to reach the black notes the whole hand has to move forward.
Although we spend many hours practising to increase the strength and agility of all our fingers some fingers will always remain stronger than others. Although we spend hours practising to make the passage of the thumb imperceptible we can allow it to be perceptible at times.
The second fingering mirrors the motivic structure of the melody precisely and uses the same fingering for each iteration of the motiv. The third fingering addresses the one slight drawback of the second, the fact that when the motiv ends on an E flat this is played with a thumb. In the second fingering there is no attempt made to reach upwards with the fingers at the jumps on the beats.
You will play with both hands but the left hand is very easy because the hand position stays the same. With more experience, you will hear that the sound is better when you release and depress the pedal just before you start a new serie of notes. At the beginning of the song, the F# note (right hand) is in the octave of Middle C (third black key above middle C).
Fast Distribution : Our speedy and useful delivery service means your order will be with you in time period. As a beginner, you’ll likely start with proper posture, layout of the piano keys, and very basic music theory.
1c shows how Chopin exploits this principle to simplify a passage in the "Revolutionary" study.
2c shows how this principle can be used to help coordinate the hands even when, as is usually the case, they cannot play the same fingers together all the time. This means that we are going to have to move our hands around the keyboard in the course of most pieces of music. Once the movements between positions is accurate and fluent the fingerwork within each position has a far better chance of flowing smoothly.


There are times when this is the best thing to do but in most situations the longer fingers are used for the black notes.
The thumb, 2nd and 3rd - particularly the thumb and 3rd - are physiologically the strongest fingers and their strength can be exploited by using them on notes that require stress. 5a the note B is to be brought out as a syncopated pedal note, first in the bass and then in the treble.
5b all the notes on the beats are played with either thumbs or 3rds or, in the case of the triads, with the 1, 3 and 5. 5c Schumann wants the notes in the left hand to ring out above the right hand semiquaver texture. 6a the passage of the thumb happens on the beats and we can allow this to give a slight emphasis of the beat. 6c the fingering shown enables the hand to flow smoothly up the up the keyboard to the climactic chord whilst ensuring that strong fingers are placed on the beats.
There are a great many things to think about - notes, fingering, phrasing, articulation, interpretation etc. It is perfectly possible to do this but for those who find it more comfortable the 2 and the thumb can be swapped around at this point.
Instead the jumps have to come from the arms which carry the thumbs of both hands into their new positions for each beat. If the passage is repeated higher or lower than it originally appeared this is known as sequential repetition.
8a the fingering in both hands works very well for the first bar and its sequential repetition in the following bar. Beyond learning a new skill, playing music has been shown to relieve stress and improve your focus.
From there, you can move onto sightreading, dynamics, advanced theory, and maybe even composing your own music! In his fingering each of the descending 4-note scalic passages are fingered 1,2,3,4 regardless of the disposition of black and white notes. This is often the first scale for two hands taught to beginners and there is a good reason for this.
In this scale the hands are rarely playing the same fingers at the same time and it takes beginners longer to master than the contrary motion scale.
Just as the movements of the fingers within one hand position need to be practised, so too do the changes of hand position themselves. Each basic hand position is defined by the position of the thumb and within each position the hand has to change shape slightly in order to accommodate all the notes.
The fingering shown has a change of hand position for each 4-note wave which allows a natural slight emphasis of the beat. The sequential repetition of a small 4-note motiv is used to carry melody down the keyboard for several octaves.
They all work and the careful pianists will try all three and maybe some others in the search for the fingering that suits them best, both mentally and physically.


The first fingering, also from the Augener edition, attempts to adjust the fingering in order to facilitate the jumps that take place on each beat. This is not only very easy to learn but it builds in the accentuation of the beats that gives this passage its driving intensity. Sometimes the fingering for the original passage is not such a good fit for the sequential repetition, if there is a different disposition of black and white notes, but where it does fit it makes sense to use the same fingering. Although there are black notes in the second bar, where there was none in the first, they do not fall under the thumbs in either hand. Noticing the sequential repetition in the two bars the player has opted for a fingering that works in both bars, although slightly more comfortably in the second. Bars 91-2 are in E flat major and bars 101-2 are a direct transposition of this into G minor. 2c the hands are able to play the same fingers together on the main beats and these moments help to coordinate the hands which are, otherwise, moving quite independently of one another. In the first position the 5th could not easily reach the A natural if the 3rd and 4th fingers were still sitting on the D and E flat.
In the F major scale the passage of the thumb is delayed until after the B flat, which is played with the 4th finger.
The first fingering, from the Augener edition, makes no attempt to mirror the patterns in the music and, whilst workable, seems unnecessarily complicated.
Not only does this make the music easier to learn but it reinforces physically the pianist's awareness of symmetries in the musical structure of a piece.
Of course, what this really means is that the mind finds it easy to control the hands when they are expected to do the same thing at once. The player in this example has ended up using only two fingers to work his way down the keyboard. Try putting the thumb under after the three and playing the B flat with the thumb and you will see how awkward this is. Here again, by using the long fingers on the black notes and arranging that the thumb and 5th will be used on white notes, the passage flows easily. This requires the left hand to play this bar in a slightly forwards position to enable the short thumb to reach the black note.
For example, the first 7 notes of the passage are all encompassed within one basic hand position using all 5 fingers of the right hand. This minor adjustment is amply justified by the fact that now the same fingering works for both bars.
In the left hand of bar 102 the move from the E flat to the D is effected by a slide of the thumb making it easier to reach down the octave to the lower D. Not only is this easier to learn but the player experiences a strong sense of the musical structure being mirrored in the fingering.



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