I've always thought that whenever a portion of a scale occurs in a piece it depends on what leads into it and way from it that determines the best way to finger it.
That's true, these are just the fingerings to use when practicing scales as exercises. In real pieces of music, however, often one does not want to use the textbook fingering for various reasons.
Does your new fingering include any of the archaic types that I believe were used in Bach’s day, like 4 to 3 crossing? I noticed you snuck a 4-3 cross into BWV57 (number 62) in Sight Reading & Harmony. I like it. Works well. 😀
Good day BachScholar. Ive been playing piano for the last 6 years with completion of Hanon’s Excercises and Damon Ferrante’s “Scales, Chords, and Arrpegios”. I’m trying to understand why your new system is better (e.g. is it because it’s too old, is there a new scientific data that proves mirrored is better, scientific mechanics, it show faster, fingering, better learning?)
It just makes more theoretical sense. I will make more videos on this topic. Many of the traditional fingerings contradict themselves when put to the test. Anyone inventing a fingering system needs to be aware of this, which the inventors of the traditional system obviously were not aware of. They weren't thinking clearly. The new fingerings are not necessarily going to lead to more "virtuosity" than the traditional fingerings, they just make more theoretical sense when seen as a complete system. Has anyone really questioned the traditional fingerings except me? If so, what were their findings? If not, this is really pathetic, because it means I am the only pianist in history who has challenged the traditional fingerings. Am I the only person who has questioned and doubted the traditional fingerings? I feel like we should just assume fingerings and play certain fingerings just because all the books say so, which is not a good reason. For example, the traditional fingering for B-flat major in the LH is 321-4321. But why? What is wrong with 21-321-432 instead? All we are doing here is changing the location of the 321-4321 group so it starts on D instead of B-flat. Also, there are two big advantages to playing the thumb on C instead of D for B-flat major in the LH. One is that when played hands together (assuming the traditional 2-123-1234 in the RH), the thumbs both play C and F together, which is easier than playing the thumbs on two separate keys. This is why beginners always have the hardest time with B-flat major with all 12 major scales and it is why if you simply have them play their left thumb on C instead of D along with the RH thumb on C, the scale becomes really easy. Another advantage to 21-321-432 in the LH is that B-flat minor even in the traditional system has this fingering in the LH. This way, one need not play 321-4321 for major and 21-321-432 for minor, but 21-321-432 for both major and minor. It simply makes much more logical sense. Anyway, there is much more......
There is at least on other pianist trying to improve scale fingerings: Penelope Roskell with her book “The art of piano fingering”. Her suggestions are interesting, but I think your argument is more solid and convincing.
Fantastic, figuring out good fingering is often very frustrating!
I've always thought that whenever a portion of a scale occurs in a piece it depends on what leads into it and way from it that determines the best way to finger it.
That's true, these are just the fingerings to use when practicing scales as exercises. In real pieces of music, however, often one does not want to use the textbook fingering for various reasons.
Does your new fingering include any of the archaic types that I believe were used in Bach’s day, like 4 to 3 crossing?
I noticed you snuck a 4-3 cross into BWV57 (number 62) in Sight Reading & Harmony. I like it. Works well. 😀
No, but I use that technique often. I definitely will include that technique in my "Fingering Hacks for Pianists" book.
Good day BachScholar. Ive been playing piano for the last 6 years with completion of Hanon’s Excercises and Damon Ferrante’s “Scales, Chords, and Arrpegios”. I’m trying to understand why your new system is better (e.g. is it because it’s too old, is there a new scientific data that proves mirrored is better, scientific mechanics, it show faster, fingering, better learning?)
It just makes more theoretical sense. I will make more videos on this topic. Many of the traditional fingerings contradict themselves when put to the test. Anyone inventing a fingering system needs to be aware of this, which the inventors of the traditional system obviously were not aware of. They weren't thinking clearly. The new fingerings are not necessarily going to lead to more "virtuosity" than the traditional fingerings, they just make more theoretical sense when seen as a complete system. Has anyone really questioned the traditional fingerings except me? If so, what were their findings? If not, this is really pathetic, because it means I am the only pianist in history who has challenged the traditional fingerings. Am I the only person who has questioned and doubted the traditional fingerings? I feel like we should just assume fingerings and play certain fingerings just because all the books say so, which is not a good reason. For example, the traditional fingering for B-flat major in the LH is 321-4321. But why? What is wrong with 21-321-432 instead? All we are doing here is changing the location of the 321-4321 group so it starts on D instead of B-flat. Also, there are two big advantages to playing the thumb on C instead of D for B-flat major in the LH. One is that when played hands together (assuming the traditional 2-123-1234 in the RH), the thumbs both play C and F together, which is easier than playing the thumbs on two separate keys. This is why beginners always have the hardest time with B-flat major with all 12 major scales and it is why if you simply have them play their left thumb on C instead of D along with the RH thumb on C, the scale becomes really easy. Another advantage to 21-321-432 in the LH is that B-flat minor even in the traditional system has this fingering in the LH. This way, one need not play 321-4321 for major and 21-321-432 for minor, but 21-321-432 for both major and minor. It simply makes much more logical sense. Anyway, there is much more......
There is at least on other pianist trying to improve scale fingerings:
Penelope Roskell with her book “The art of piano fingering”.
Her suggestions are interesting, but I think your argument is more solid and convincing.