Working out which fingers to use on piano is a very necessary skill for pianists at all levels. Many of us rely predominantly on fingerings given in the music we buy. However, these don’t necessarily always work well – especially if you have smaller hands. Therefore, we need to understand the Art of Piano Fingering.
I’m sure I read somewhere that Chopin is quoted as having said that most technical problems on piano can be overcome by using an appropriate fingering. I’ve tried to find the quote and unfortunately can’t. However, whilst maybe not as illustrious as Chopin, I’ve heard many other respected pianists make a very similar remark.
What is the correct fingering?
Beginners often think that there is only one ‘correct’ fingering. I remember reading a post on one Facebook Groups of which I’m a member from someone worried that if they used a different fingering than that marked on the score in an exam, they might actually lose marks.
Advanced pianists (so say Grade 8 and above), will often reach out for advice on how to finger specific passages. So this is a topic that is just as vital to the beginner as it is to the advanced pianist.
Given its importance, you might be forgiven for thinking there would be a wealth of literature on the topic. Well, in fact, there isn’t. Not at least in ‘accessible’ places (I don’t have access to a specialised music library so if I need a book then I’ll use Amazon).
Social Media to the rescue
If you’re a regular reader of my blogs, you’ll know that I’m a great fan of technology. In fact, it’s thanks to Technology (or perhaps rather Social Media) that I came across an excellent reference guide on just this very topic.
I’m a member of a Facebook Group centred around piano technique. As you might expect, members regularly raise questions on how to finger various passages or overcome fingering difficulties and one name pops up very regularly with a suggestion or two. The gentleman in question is Rami Bar-Niv. It just so happens that in 2012 he published a book on Piano Fingering called ‘The Art of Piano Fingering: Traditional, Advanced, and Innovative’.
Many members of the group had bought the book and praised it very highly. I also noticed on Amazon a 5 Star review from Graham Fitch (of who’s teaching I’m a big fan). Having realised that my own knowledge on fingering was pretty basic, I decided to make the purchase for myself.
First impressions
When the book first arrived, I went through it cover to cover. Slowly enough to try to digest things, but quickly enough to get an overview of everything inside.
So, what do I really like about this book.
- First, for pretty much everything explained, Rami uses a real piece of music to explain it fully. This really helps relate the ‘theory’ to the ‘practice’
- Secondly, and especially where he is proposing fingering strategies that are not mainstream, he gives a set of exercises that you can do to accustom your hands to a particular way of fingering
- Thirdly, it’s well illustrated with photographs showing the hand on the piano to help demonstrate many of the principles
- Fourthly (and especially important to me) it’s not written from the perspective of ‘big handed’ pianists … there are lots of tips and suggestions for the pianist with smaller hands.
- Finally, it’s written from the valuable perspective that fingering choices need to be made (in order of precedence) as follows:
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- Musical consideration
- Health of the Hands
- Making it physically easy and comfortable
- Making it mentally easy and comfortable
What’s inside
The Art of Piano Fingering itself is an A4 format of just over 200 pages.
Basic structure
After some general introduction and scene setting, the book starts off with the very basics – the good old ‘five finger position’ and traditional scale fingerings. I was actually quite surprised to learn ‘why’ tradition has us doing certain things in certain ways. I think that if I had been taught some of these things when I was first learning, I would have had a better appreciation of what I was actually doing.
The book then starts to introduce more complex material as it moves through chords and arpeggios and then over 100 pages of insightful fingering tools. It next moves on to suggestions for handling the stuff of nightmares for many pianists (for example, trills in double thirds to name just one example).
Examples of insights
In my view, The Art of Piano Fingering is literally packed with insights and guidance – many things I would never have thought of by myself. This would extend over many pages if I tried to mention everything so I’ll give just a couple of examples.
Fingering repeats differently
If you’re familiar with Chopin’s A Flat Waltz (L’Adieu), you’ll know the small chromatic passage which repeats itself 3 times within the piece. As always, with repeats in Chopin, the object of the exercise is to vary the interpretation. Rami suggests here that you might consider fingering each of these repeats differently as this will give a different musical result. This is something that would never have occurred to me. It just shows how a better understanding of the principles of fingering can help you elevate your music.
I think the key thing to remember is that it’s intended to give you the fingering Tools so that you’ll be able to apply them to the specific pieces of music you are learning and then work out fingerings that get you the result you need. This is exceptionally important as the ‘right’ fingering is often very personal. No two hands are the same so relying on someone else’s fingerings won’t always work.
More comfortable for the hands?
As another more generic example, Rami discusses the occasions when you might need to adopt a fingering that is more comfortable for the hands, but less so for the brain. Again, a revelation to me as I’d never really made the differentiation between a fingering that ‘feels’ right because it’s easier for the brain as opposed to one that is actually physically better for the hands.
Teacher or self taught?
Whatever your level, if you have a teacher, this will provide excellent material to discuss in lessons as you work through any challenge in the music you’re learning. Perhaps your current teacher already has a copy.
If you don’t currently have a teacher, then I’d say this book should be on your ‘must have’ list – along with Graham Fitch’s Piano Practice Series. I say this because if you’re seriously trying to teach yourself (which I think is entirely possible once you reach a certain level), then you need to get as many inputs into piano playing as possible.
If you’re an absolute beginner, I would still definitely recommend getting ‘The Art of Piano Fingering’. It will serve you faithfully for many years. However, you will need the help of a teacher initially as there are a lot of concepts to grasp. To be honest, with something like piano, then at the outset getting a good teacher is probably the best thing you can do anyway.
If you’re a teacher, then it will prove an excellent teaching support. This should be true whether you’re teaching beginners or advanced, children or adults. I’d even go as far as to say that in the hands of an experienced teacher, this book will become even more powerful as a learning tool.
A definite recommendation
In short, I’m delighted with the book. I know it will prove to be one of those reference works that I’ll be dipping into constantly as I continue with my piano learning journey. Don’t forget to check it out on Amazon.
I’m now going to start working through it very slowly. I will especially take advantage of the different exercises Rami suggests so that I have a much bigger arsenal of potential fingering strategies.
The only real downside for me is that it currently doesn’t come in a Kindle or similar format. Being able to have it on my iPad would be a great advantage. Perhaps one day it will be available.
If you’d like to catch the video review, you’ll find it here:
