The Performing Pianist's Guide to Fingering

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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