You might be interesting in this:
FINGERING
''Is there a musical solution to every problem of fingering?
Yes, except when the hands really cannot reach wide intervals meant to be sounded simultaneously. Then, however, there is generally a less efficient but musically acceptable solution in the form of arpeggiation.
What is a good fingering?
One that involves an economy of motion and a consistency that ensure security, and that most simply and directly exposes the musical content.
What is a bad fingering?
One that introduces unnecessary motions and changes of hand position that hinder rather than assist the expression of musical content.
What is the cause of much stumbling and inaccuracy?
Undecided and inconsistent fingering, and poorly prepared shifts of hand position.
How can a problem of fingering be solved in passages where stumbling and inaccuracies occur?
By writing down and following an orderly and consistent fingering, and by later revising it, if necessary, for even greater convenience and musical suitability.
If I write down careful and consistent fingerings for at least three Scarlatti sonatas, and test them out and revise them so that they really work in execution, will I be able to finger the remaining sonatas satisfactorily?
Yes.
If I learn at least six Scarlatti sonatas with carefully written out fingering, will I be able to dispense with writing out all but unusual passages in the others?
Yes.
Questions to ask:
What fingering permits the maximum legato grouping of notes without change of hand position?
What fingering best permits the transition from one hand position to another?
Which intervals demand legato and which permit detachment?
In this chord passage, have I found the smoothest possible fingering? Can I cover an undesirable detachment in one voice by making a smooth progression in another? Have I eliminated unnecessary substitutions of finger, and have I satisfactorily co-ordinated those that are necessary?
In this passage in broken harmony, what fingering adapts itself with the greatest security to correspond with the underlying chord progression?
Is this phrase best expressed by a fingering permitting and unbroken legato, or by one that expresses the articulation of certain intervals by automatically detaching?
Is a quiet hand advantageous here, or is there a movement of the hand or a shift of hand position that will help to bring out the musical content of the phrase?
In these repeated notes, which grouping of changing fingers feels and sounds best? Is it a pattern of four, three or two fingers? Is it a passage that sounds better without a change of finger?
Do certain notes sound better with releases that are as sharp and as accurately timed as their attacks?
Will this fast passage sound less eloquent, or more crisp and brilliant by means of an accurate timing of the releases as well as the attacks of its component notes?
Does staccato or merely a simultaneous timing of the release of one note with the attack of the following note sound better here?
On certain notes is it better to make two separate impulses, one for attack, and one for release, or to make only one impulse to embrace both attack and release?
Do certain notes sound better with a gradual than with a sudden release? Do they sound better when held and allowed to die away or to be covered by the attacks of succeeding notes?
Does a legato here enhance or obscure the rhythmic energy of this passage?
Will overlapping add to the effect of legato? Will it add harmonic richness to the inflection of dissonant passing tones, or will it diminish brilliance by rendering release imprecise?
Do certain octave passages in consecutive thirds or sixths sound better when played detached, with the same fingers, like octaves?
In passages outlining broken harmony, which sounds better: to play them melodically, or to sustain the harmonies with the fingers (or the pedal)? Is it desirable in some such passages to make shadings in the sustaining of underlying harmony, from non-sustained, through partly sustained to fully sustained?''
Kirkpatrick - preface(part of) Scarlatti: sixty sonatas, schirmer edition. He has some umpteen questions concerning performance in it (not only the scarlatti sonatas). I suggest you get it.