The Performing Pianist's Guide to Fingering

Cover
The Performing Pianist’s Guide to Fingering
Title
Copyright
Dedication
Contents
Preface
Acknowledgments
Part I: Fingering Techniques
	1. Fingering Keyboard Works of Selected Composers and Styles
		Possible Choices of Fingering for the Advanced Pianist
		Changing a Finger on the Same Note for Legatissimo
		Crossing Fingers Over or Under
		Changing Fingers on Repeated Notes in Chords
		Playing Legato Chords That Span an Octave
		Retaking Notes Silently
		Positioning with Fingering for a Jump or Change of Hand Position
		Using Pattern Fingerings in Passage Work
		When to Avoid Playing Low Notes of Chords with Fifth Fingers
		Playing More than One Note with a Finger
		Using 5–3 to Project Top Melodic Tones
		Block Fingerings
		Chromatic Scales in Single Notes
		Taking Top Notes of Rolls, Runs, and Arpeggios with Strong Fingers
		Playing Rapid Mordents, Mordent Figurations, and Turns
		Fingering Turnabout Patterns for Clarity
		Fingering in Extended Tremolo Passages
		Playing Legato Octaves
		Playing Slurred Octaves
		Playing “Blind” Octaves
		Skipping a Finger to the Next Note for Clarity and Possible Emphasis
		Using the Same Finger for Portato Touch
		Refingering Two-Note Glissandos
		Composers’ Indications for Fingerings
		The Breaking of Hands and Rolling of Chords by Pianists from the Late Nineteenth and Early Twentieth Centuries
	2. The Fingering Redistribution of Hands: Pros and Cons
		Redistributions to Avoid Rolls
		Redistributing Large Chords and Intervals to Obtain Clarity and Clean Pedal Changes and to Avoid Unwanted Rolls
		Redistributions for Achieving a Better Hand Position in Preparation for Making Jumps, Moving to Large Chords, and Positioning for Large Intervals
		Redistributions to Position for Large Skips and Rolls
		Redistributions for Achieving Controlled Voicing and Technical Clarity
		Redistributing to Better Shape Slur or Phrase Endings
		Redistributions for Clarity, to Relieve Stress, for Speed, and for Accuracy
		Redistributions to Keep Clear Textures and Rhythms
		Redistributions to Facilitate Finger Pedaling
		Vladimir de Pachmann’s Redistributions in Chopin’s Prelude, op. 28, no. 2, as Notated by Leopold Godowsky
		Videos of Famous Pianists Using Redistributions
	Appendix: The Fingering of Benno Moiseiwitsch in Manuscript Illustrations
	Part I Bibliography
Part II: Baroque Fingering and Interpretation: What Can a Modern Pianist Learn?
	Introduction: The Pianist’s Dilemma
	My Interest in Baroque Fingering and Its Impact on My Playing
	3. An Overview of General Baroque Fingering Concepts
		C. P. E. Bach’s Approach to Fingering Technique
		Mention of Baroque Women’s Contributions
		Summary: Axioms for Baroque Fingering
	4. Articulation (Attack, Decay, Lifting, Slurring, Affekt)
		Attack and Decay
		Lifting
		The Doctrine of Affections (Affekt)
		Slurring
	5. Hand Splitting or Redistribution, Stemming, and Cross Hands
		Hand Splitting or Redistribution
		Stemming
		Cross Hands
	6. Crossing and Turning of the Fingers
	7. Repeated Notes, Glissandi, and Implied Fingering through Musical Figures
		Repeated Notes
		Glissandi
		Musical Figures Dictating Fingering
	8. Fingering in Ornamentation
		Scarlatti’s Trills and Tremolo
	9. Fingering in Chords and in Chordal Realizations
	10. Bach’s Poetic Meter
		Rhetoric in Speech in Bach’s Keyboard Works
		Rhetoric in Semantics from Bach’s Keyboard Works
		Rhetoric in Structure: Some Dance Examples from Bach’s Keyboard Works
		Notes inégales
		The Overdot
		Fingerings in Metric Shifts
	11. Singing with the Fingers
		Finger Substitution
		Finger Slides
		Finger Pedaling
	12. Dancing with the Fingers: A Guide to Understanding Scarlatti’s Iberian Sonatas When Choosing a Fingering
		Brief Case Study of Scarlatti’s Sonata-Bolero in D Major, K. 491
	Conclusion
	Part II Bibliography
Index