{"id":6306,"date":"2014-01-10T12:13:27","date_gmt":"2014-01-10T12:13:27","guid":{"rendered":"http:\/\/www.pianostreet.com\/blog\/?p=6306"},"modified":"2014-01-17T11:47:27","modified_gmt":"2014-01-17T11:47:27","slug":"natural-fingering-a-topographical-approach","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/articles\/natural-fingering-a-topographical-approach-6306\/","title":{"rendered":"Natural Fingering – A Topographical Approach"},"content":{"rendered":"

\u201cThe black keys belong essentially to the three longest fingers\u201d<\/em> – CPE Bach<\/p>\n

\u201cPlease do not think that I am so na\u00efve as to ignore the logic of the circle around which our scales are built and the center of which is C. I merely stress that the theory of piano playing which deals with the hand and its physiology is distinct from the theory of music.\u201d<\/em> – Heinrich Neuhaus<\/p>\n

The art of fingering is a huge subject, not least if studied historically. While many professional players stress the importance of good fingering we often find fingering suggestions offered by renowned editions to be clumsy, odd or simply out of place. <\/p>\n

\"\"New York pianist and teacher Jon Verbalis book Natural Fingering<\/a><\/em> is a rich resource on the subject of piano fingering. Verbalis delves into fingering techniques focusing on a topographical approach, and how they relate to the ideas found in F. Chopin\u00b4s un-finished Piano Method (Projet de M\u00e9thode).<\/p>\n

Thomas Fielden appears to be the first to have introduced the term \u201ctopography\u201d in relation to fingering in his 1927 work “The Science of Pianoforte Technique”. Fielden stressed knowing how muscles and tendons work and how the arms and hands move. He scientifically analyzed which of these muscles and tendons a pianist used when playing and described the function of the finger, hand and arm as a lever used in the act of touch.<\/p>\n

Verbalis also talks about equal temperament and how it affected composers’ choice of key signature. Further, he discusses the significant influence of Charles Eschmann-Dumur, who extolled the virtue of new fingering patterns. These patterns balanced groups of notes in major scales with equal numbers of fingers, which is a concept called equal construction. Equal construction allows the pianist to invert the finger pattern and keep the desired symmetry. This technique is especially apropos to contrary motion, where the two hands move in opposite directions. Verbalis quotes Dumur’s Exercises Techniques Pour Piano in order to buttress his conclusions. He also develops a fingering strategy based on the physiological construction of the human hand. <\/p>\n

According to Verbalis the three working principles for a basic topographic fingering strategy are:<\/p>\n

1) Long fingers on short keys (black), short fingers on long keys (white)
\nThis represents the very essence of a topographical approach; from it the basic patterns and their pivotal functions evolve.<\/p>\n

2) Fourth on black, thumb on white
\nThe fourth finger is the ideal black-key pivot in diatonic scales and arpeggios.<\/p>\n

3) No unnecessary stretches or adjustments
\nIn regard to range of movement, it is most important to strive for fingerings with the aim of reducing or eliminating any unnecessary stretches or adjustments.<\/p>\n

Example 1: Beethoven – Sonata op 13, 3rd mvt.<\/strong>
\nThis descending scale does not suggest a traditional c minor fingering. The 4th on e flat allows the thumb instead of 4th on b and the 3rd on a flat becomes the pivot (principle 2) avoiding any positional stretch (principle 3).<\/p>\n

\"\"<\/p>\n

Example 2: CPE Bach – Solfeggietto<\/strong>
\nTraditional fingering suggests the thumb on c (right hand). The 4:th finger on e flat supports the previous scale idea in c minor. 54323 from the g (right hand), is the c minor chordal position with a long finger (3rd) on black key.<\/p>\n

\"\"<\/p>\n

Example 3: Chopin – Fantaisie Impromptu<\/strong>
\nThe descending alternatives are to be tried from a hand size point-of-view. 453 from the d sharp gives us a diminished chord position down to the a, with a spread hand. The 342151 solution means two positions in the run. 4351 (g sharp, f sharp, a, e) supports the idea of long finger on black key.<\/p>\n

\"\"<\/p>\n

Example 4: Debussy – Clair de Lune<\/strong>
\nThe right hand descending basically follows the pattern of an E major scale (thirds). The 5th and 3rd on g sharp and e on the 6th beat in the second bar anticipates the chordal position of f sharp minor. The full f sharp minor 7 chord of the left hand is obtained through the 4th on f sharp, 3rd on a, 2nd on c sharp and 1st on e. Long finger on black key. <\/p>\n

\"\"<\/p>\n

Example 5: Prokofiev – Diabolical Suggestion, Op. 4<\/strong>
\nThe right hand is presenting major and minor thirds chromatically descending by using the 1st and 2nd fingers. The top voice descends through the 5th and 4th alternatively 5th, 4th, 3rd and 2nd (in bar two) in order to safeguard the legato line. The pattern is favouring a longer finger on black key.<\/p>\n

\"\"<\/p>\n

Available on the Natural Fingering companion website (accessible through an access code) are excerpts from the repertoire which are provided with topographically correct fingerings illustrating the principles and strategies applicable to the content of each chapter.<\/p>\n

Historical background<\/h3>\n

General concepts of fingerings can be traced to different schools of training and traditions but should ulitmately strive for the best solution in the given musical situation. We also must come down to the individual player\u00b4s situation where size and construction of hands will be crucial for the choice of fingering. We might ask us if there is an actual gain in knowing about Mozart\u2019s scale fingering when his fortepiano displays no resemblance to a modern grand piano what so ever.<\/p>\n

Chopin’s fingering principles<\/h3>\n

\"Chopins

Chopin's fundamental hand positions for the right and left hand<\/p><\/div>Chopin’s un-finished Projet de M\u00e9thode (Piano Method) was a groundbreaking study piece when he died in 1849. Although it was incomplete at the time, the work outlined a new pedagogy of the piano. Chopin brought this to the fore by pointing out the symmetry of both the keyboard and the music he and others had composed for it. <\/p>\n

In contrast to other pedagogues of his time, who sought to equalize the fingers by means of laborious and cramping exercises, Chopin cultivated the fingers\u2019 individual characteristics, prizing their natural inequality as a source of variety in sound. <\/p>\n

\"\"<\/a><\/p>\n

\u201cFor a long time we have been acting against nature by training our fingers to be all equally powerful. As each finger is differently formed, it\u2019s better not to attempt to destroy the particular charm of each one\u2019s touch but on the contrary to develop it. Each finger\u2019s power is determined by its shape: the thumb having the most power, being the broadest, shortest and freest; the fifth [finger] as the other extremity of the hand; the third as the middle and the pivot; then the second [illegible]. And then the fourth, the weakest one, the Siamese twin of the third, bound to it by a common ligament, and which people insist on trying to separate from the third-which is impossible, and, fortunately, unnecessary. As many different sounds as there are fingers.\u201d<\/em> (F. Chopin)<\/p>\n

As an example of pure technique exercises that apply the concept of \u201ckeyboard\u2019s proper relationship to the physiology of the hand,\u201d Chopin would suggest that his students begin the study of scales with B, F# and Db Major (\u201cfollowing the basic fingertips 1-2-3-1, 2-3-4-1 and 2-3-1, respectively\u201d). He considered that these scales follow the natural, comfortable position of the hand, due to the fact that the longer second, third, and fourth fingers would be playing on the black keys.<\/p>\n

Neuhaus’ fingering principles<\/h3>\n

Legendary pedagogue and pianist Heinrich Neuhaus agrees with Chopin’s principle of each finger’s individuality but also refers clearly to the concept that the chosen fingering ultimately should serve the musical idea. Neuhaus says: \u201cThat fingering is best that allows the most accurate rendering of the music in question and which corresponds most closely to its meaning. That fingering will also be the most beautiful. By this I mean, that the principle of physical comfort, of the convenience of a particular hand is secondary and subordinate to the first, the main principle.\u201d<\/p>\n

Reader question<\/h3>\n

Which fingering principle do you use when playing the piano?
\nPlease leave a comment below.<\/p>\n

\n

Examples reprinted from the companion website for Natural Fingering: A Topographical Approach to Pianism (April 2012), by Jon Verbalis with permission from Oxford University Press \u00a9 2012 Oxford University Press<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThe black keys belong essentially to the three longest fingers\u201d – CPE Bach \u201cPlease do not think that I am so na\u00efve as to ignore the logic of the circle around which our scales are built and the center of which is C. I merely stress that the theory of piano playing which deals with the hand and its physiology […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"class_list":["post-6306","post","type-post","status-publish","format-standard","hentry","category-articles"],"yoast_head":"\nNatural Fingering - A Topographical Approach - Piano Street Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.pianostreet.com\/blog\/articles\/natural-fingering-a-topographical-approach-6306\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Natural Fingering - A Topographical Approach - Piano Street Magazine\" \/>\n<meta property=\"og:description\" content=\"\u201cThe black keys belong essentially to the three longest fingers\u201d – CPE Bach \u201cPlease do not think that I am so na\u00efve as to ignore the logic of the circle around which our scales are built and the center of which is C. 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