change of fingerings after time

[tds]

has any of you changed fingerings after performing the works many times? if so, what is the usual reasoning for it? why this happens? best, tds

[whynot]

I will change fingerings after a while if I don't like how something is feeling or sounding.  It rather horrifies my teacher, but then he just laughs.  It's not that risky because, if the place was already a trouble spot (otherwise why change), then I'm very aware of it approaching, and that gives me time to "remember to remember," if that makes sense.  Also, if I change my mind at the last moment, I know how I did it before, so I still have a way to play it.  If I accidentally change fingerings in practice, I don't stop and re-play the phrase, I make myself play through it any way I can.  Maybe I'll go back later, but in the moment I keep playing just to see if I can do it.  It's almost always possible, it just doesn't sound as good-- but it's good to know that the whole piece won't fall apart from starting one run on the wrong finger.  (it just feels that way...)   

[marialice]

I have. Most of the time it happens when I pick up a piece that I learned a long time ago and find out that I have been using some illogical fingering all the time. Basically, I change fingerings every time I find a better fingering, but I always try to find the best fingering possible when I first start on a piece.

[nicko124]

has any of you changed fingerings after performing the works many times? if so, what is the usual reasoning for it? why this happens? best, tds

Well it is obviously very important if you want to make a section sound better and the current fingering can't manage it very well.

[tds]

Well it is obviously very important if you want to make a section sound better and the current fingering can't manage it very well.

your current fingering can't manage it very well, but you used it and play the piece for many performances? why?

[Dazzer]

sometimes you want it to sound different. Different fingering will result with different touch, which affect the sound. for example, where as a certain fingering will allow easy legato, and in fact it is just so easy to do it, but then you don't want it legato anymore, maybe to experiment. so alter the fingering a little, which kind of "impedes" legato.

maybe

[Hmoll]

your current fingering can't manage it very well, but you used it and play the piece for many performances? why?

Asked, and answered. You change fingerings a) if you find better ones that fits your current interpretation, or b) you change your interpretation, and your fingerings as a result.

[nicko124]

Asked, and answered. You change fingerings a) if you find better ones that fits your current interpretation, or b) you change your interpretation, and your fingerings as a result.

Ditto, although as tds quite rightly implied the first time you learn the piece should be treated as the ultimate because you can develop good habits from the start.

[sonatainfsharp]

Was it Rubenstein who claimed he changed fingerings during Rondos so he could keep track of where he was?

[tds]

Asked, and answered. You change fingerings a) if you find better ones that fits your current interpretation, or b) you change your interpretation, and your fingerings as a result.

i don't answer questions easily, nor do answers often jump to me readily and bare naked. lol . often times, to me, things aren't as obvious as they appear to be. interpretation seems like one good reason for the change of fingering.

how about changing fingering for convinience? such as choosing one fingering out of the several fingerings that all falls within the capacity to produce the desired sound.

how about changing fingering because of the change of basic technique?

how about changing fingering just for the heck of being explorative? oh, btw, what is interpretation?

best, tds

[tds]

Ditto, although as tds quite rightly implied the first time you learn the piece should be treated as the ultimate because you can develop good habits from the start.

oh, sorry nicko124, i have not implied anything but asking you questions. i am just a basically a pondering man. tds

[ted]

I do not hesitate to experiment with fingering, even during the playing of a piece. In large part this is no doubt due to my laziness in not working out the optimum fingering to start with. I find fingering to be rhythmically more critical in stride and ragtime. Often, unlike in most classical pieces,  a seemingly silly fingering  produces a superb effect, and these fingerings are very difficult to spot at the outset, or at least I find them so. After learning Carolina Shout, for instance, I had occasion to change fingerings in several places over the succeeding weeks to improve rhythmic effect.

[whynot]

Yeah, definitely interpretive reasons are a factor.  And also I like to think that we just keep improving and having realizations about our playing.  So if I change, it's not that I didn't take the piece and its fingerings seriously the first time, but rather that I'm having more ideas and getting better over time (I hope).   

[etudes]

Was it Rubenstein who claimed he changed fingerings during Rondos so he could keep track of where he was?

my teacher use it in Chopin op.25 no.8 when go back before the ending to know that the music is almost end

[pizno]

What works at a slower tempo doesn't always work at a faster tempo.  I'm constantly messing with fingering.  Sometimes it seems I was out to lunch when I fingered it the first time.  It takes me forever to figure it all out!