There are very few scriptures about this theme, e.g. "Principles of Fingering" by Tobias Matthay.

During my teaching activities as piano teacher I found always more clearly that most of the hesitations of the students during their play derived from their thinking about fingering. That caused me to develop a system for about twelve years which has been proved very well in my and my piano studentsī  work.

As a medical doctor and concert pianist I am aware of "information processing" up to psychological and physiological facts during piano playing and I know that pianists ignore these things often totally: If I find an adaptable system I can always penetrate more and more profound into a working field practically without any restrictions. In the same sense the right piano technique serving the music can guide to the highest spheres of music.

On the other side a casual fingering creates undesired limits in the performance situation. With this I also mean a motorically well-studied performance which has no written -and thus fully conscious- fingering! To work with my system means hours of work in the beginning of the production of a music piece; but you will be rewarded by everlasting fruits afterwards. The system grows with the experiences of the individual, it can only be meant as an impulse for own research. Students who affronted themselves with the effort to work with it were always convinced about it.

Enough words, now we begin:

1) The base for the elementary position on the keys is naturally the so-called five-finger-position, there exist only seven different ones. The finger for one note is also responsable for the keys of itīs derivations like th esharps and flats. The definition of difficult chromatic passages is easy if you try to put your fingers only on the white keys without sharps or flats.

example piano fingering
piano fingering
second example piano fingering
piano fingering

A main rule is only to write the absolutely necessary information to avoid the minimal useless occupation of your concentration.

As  long as one hand plays in one position (even if sharps or flats change) you should not put another number over the notes like a "proof for stupid students" for the already posessed position. Therefore I cancel all unnecessary numbers of the editor of a piece and make them invisible with a white typewriterīs correctin liquid. (Or better use the fingering edition which has no unnecessary numbers written...)

From this develops a custom of always more security of the hand ro move only then sideways if there is a fingering number written.

I write the finger numbers consequently over the system for the right hand and under the system for the left hand  like an own line for the fingering, even if it costs more space.

Now come several new symbols which after a bit of habituation will work like reflexes for certain moving patterns of the hand, and with their logic they will serve like a security system which is essential for a true musical freedom.

Now the mystic fingering tricks are shown......

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