The first systems fingering piano were strikingly different from today. On the one hand, the thumb was rarely as the fulcrum on which the fingers could go up or down the stairs, and then practically used only in the left hand. Lateral movement of the hands was usually reaching one of the middle finger (usually long 3.) On one of its neighbors.
Thus, in the right hand 3 fingers would the 4th be postponed, if ascending and 2 downhill, and inleft hand and vice versa. Therefore, the thumb and little finger were used much less than today, and the three middle fingers more. Today, most of the players who are unable to follow the various older systems.
The basic principles of modern fingering first attempt was widely known by CPE Bach since 1753 Originally a supplement containing six sonatas, full of fingers to show how the rules for fingering applied in practice. His son, Carl Philipp Emanuel,wrote
My late father told me that he used in his youth to the great men who thumb their employees only when the primary made it necessary to hear. Because he lived in a time when a gradual but obvious change in musical taste has taken place, was forced to develop a much wider and fingering increase primarily on the role of the thumb.
Important features in the modern system of CPE Bach's fingering were:
Thumb used as a rocking motion side to reach theMani
Thumb and finger 5 on the notes used only white, except for long distances
Thumb went under the 2, 3 or 4 fingers, but not in the context of the 5th
Thumb used third steps
Dita quietly changed to a note
He played a couple of notes linked adjacent black and white by putting your finger off the note black to white
Fingers for all scales large and small have had, sometimes with two or three alternatives. Fingering of the notes is the closest in each hand, theusual, according to Bach, if a player today would not always agree with him. To be included broken string, he recommends the handles to be used for the strings in its uninterrupted.
Scarlatti was a much more advanced type of fingering for most of his contemporaries, who otherwise uses many of his sonatas are reproducible. MS sources contain interesting elements that my "change the finger" and "finger" (ie glissando).
In HaydnFantasia in C, demi-sixteenths of an octave at the end of the piece was almost certainly intended as glissandos, because so far played little else to have the specified speed.
There can be no doubt that glissandi eighth in each hand were seen queuing early last movement of Beethoven's Waldstein Sonata is designed for students Czerny reported the incident. Octave glissando of this kind might have at first fortepiano, with its light andflat affect. But on a modern piano, are so heavy that it is wiser, if possible, their separation (finger) between the two hands.
Both Chopin and Liszt back in time, the practice of sliding down the 3rd finger on the 4th or 5, especially when the thumb was otherwise occupied, and the 3rd finger could play a tone of black. Chopin Etude in A minor, op. 10 / 2, is based entirely on the fingering.
Although it has never included the Brahms Piano fingersWorks, except the rules and exercises, the music itself shows that he must be well-arpeggios reach your fingers in an individual way. It was a complete breakdown of the arpeggios in hand, instead of the handful of part-time, and the mask on the pedal to the break tied when jumping from the 5-inch finger, or vice versa occurred.
The choice of fingers
One of the main objectives of good fingering is to avoid the empty gesture. Therefore, it is oftenbe useful, as many notes of a phrase can be played bound, without moving hand. If the entire sentence can be added the player must decide whether to manage the best way to articulate needs, or if it would clearly produce less static hand posture. In any case, the various alternatives must be weighed and I tried to see which produce the desired effect than music.
When changes are necessary, they should be, where possible, to emphasizethe phrasing and do not conflict, is always an advantage if the hand layers may be willing to cooperate with the pauses in a sentence. In the corridor work, the player must continually looking for models for music, especially the less obvious, the first since the coup, and would try to correspond with fingering patterns.
Founded in steps on broken chords, is always useful, agreements to reduce its continuous form, as this indicates where the naturalMove hand occur.
A change of the fingers are used on a single note for two opposite effects: (a) emphasize staccato phrasing, and (b) maintain a legacy long.
If the fingers of detail was a body, its essential characteristics must be written in the copy, but everything that is obvious, or should be assumed to be revoked. Changes in hand position is important and can be clarified in order for the right hand marking the thumb in the ascendingSteps, and the third and fourth fingers in the downhill, and vice versa for the left hand. N. unexpected or irregular handles shall also be marked, preferably involving only the main finger. Otherwise, the player is the aim should be to reduce the handles in his copy of the minimum, with clarity, let alone the brands that are easier to read.
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