# Chopin's Fingering System



## millionrainbows

An interesting book by Jon Verbalis, Natural Fingering, discusses in detail Chopin's rejection of the standard fingerings for scales (such as white note C major as the starting point) and his development of his "fundamental pattern" which starts with the exotic enharmonic keys of B/C-flat, F-sharp/G-flat, and C-sharp/D-flat, considered in "complementary pairs," which would now be paramount in his more pianistic pedagogy.

This evolved as equal temperament evolved, as more distant keys on the circle of fifths became usably in-tune. That's why most of Chopin's piano music is in "weird" keys like F-sharp: these distant keys are actually more "pianistic" than the theoretically simpler C major, in terms of keyboard topography and the structure of the human hand, and "pivot points" where the thumb crosses under the fingers. The normally congenitally weak fourth finger is also given advantage as a pivot point in preference to the third finger, which is longer and capable of more repetitive movement but less capable as a pivot.

From this, Chopin moves keyboard fingering towards a more elegantly simple, more consistent and simpler, more rational, and more useful system of fingering, which also turns out to be more useful in practical situations while playing compositions, since traditional scale fingerings are less useful, and exist as unquestioned (until now) traditional constructs, more tradition than useful.

This topographic approach, in which pianists are taught to start with F-sharp scales rather than with C major, is the key to a flawless technique which we see in pianists like Richter, Marc-Andre Hamelin, and Evginy Kissin.

It is this kind of "questioning of the accepted," "thinking outside the box," and seeing what has been literally "right under our noses" which I think was Chopin's overall genius.


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## Andreas

I understand Chopin himself never actually had piano lessons. Maybe this helped his fresh approach.


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## PetrB

millionrainbows said:


> ...This topographic approach, in which pianists are taught to start with F-sharp scales rather than with C major, is the key to a flawless technique which we see in pianists like Richter, Marc-Andre Hamelin, and Evginy Kissin.


zOMG what an overwrought load of codswollop!

Seriously the F-sharp scale is a good one to begin with because it very well fits the disposition of the hand to the keyboard, and more readily accommodates the usually (but only initially) unaccommodating and clunky thumb, the digit the beginner will have difficulty "turning under" wherever that junction of 3,1 or 4,1 (or the reverse) is required -- because the hand is more elevated, leaving more room for the thumb to 'hang from the hand' as it more normally does and more readily making that 'thumb under' motion under the palm. Too, almost all scales are still (R.H. ascending) 123,1234,1 -- but again by disposition, you simply start at a different point of the same pattern for F# (starts on 2, the sequence remains the same) or 4 for Bb, etc.

The all white-key C scale is also well known as the most difficult because regardless of fingering, nowhere is there an escape from having to 'flatten out' the thumb.

_What Chopin is actually known for in the way of a clarified, if not 'radical' approach to piano technique:_ 
The wholly elastic hand, and a strong emphasis on the hand near snapping back from any tension to its natural position, even within those nano-seconds spaces in densely busy passages where some greater state of tension is inevitable.

You can look at a great deal of earlier rep, scale passages in Mozart, etc. and find thousands (probably) of instances where the scale fingerings there are not the conventional ones, because the passage may not start on the tonic, and / or to set up the hand / arm alignment in preparation when that passage goes out of being a scale and to something else.

I know you've provided us with but a few quotes, but it reads to me like someone has written a book extrapolating (and perhaps completely misunderstanding) a few points re: Chopin's approach, and via over-complication, spinning, and _a whole lot of hyperbole_, turned it into a full-length book.

Everything you could ever need to know about fingering and hand disposition, in essence and working principles, would fill a pamphlet. I'm reminded of Glenn Gould, "I could tell you _everything you will ever need to know about playing the piano_ in about half an hour."


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## Taggart

PetrB said:


> Everything you could ever need to know about fingering and hand disposition, in essence and working principles, would fill a pamphlet. I'm reminded of Glenn Gould, "I could tell you _everything you will ever need to know about playing the piano_ in about half an hour."


Bach put it even better: It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.


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## millionrainbows

Personally, I find the book to be quite fascinating, as it goes into minute historical detail about the different theories and systems which existed, some of which still persist today. Chopin started the idea, but other figures had to flesh it out later. This struggle continued right up tp the early twentieth century. It also goes into detail about the logic and reasoning behind these ideas, and illuminates other areas, such as equal temperament and the increasing use of chromaticism. If nothing else, it's a good history of the different schools and methods of teaching keyboard technique. I think a book like this has been needed for years.

Here's the Amazon blurb:

_Though incomplete at the time of his death in 1849, Chopin's Projet de méthode was nonetheless revolutionary in many respects. But with his Fundamental Pattern, Chopin announced the recognition, if not discovery, of the keyboard's extraordinary topographical symmetry and postulated a core formulation for a new "pianistic" pedagogy. More than a hundred years later the now-legendary Heinrich Neuhaus would passionately plead for this pedagogy and a pianism rooted in it.

Natural Fingering explores this remarkable symmetry, significantly as it sheds light on fingering matters for the now vast catalogue of repertoire. It also examines the revolutionary impact of equal temperament on compositional key choice as well as the liberating influence of Charles Eschmann-Dumur's unique discoveries regarding symmetrical inversion.

Author Jon Verbalis develops principles for a topographically-based fingering strategy that reflect a surprising compatibility of this fixed symmetrical organization with the most efficient biokinetic capabilities of the pianist's playing mechanism. He addresses previously neglected or overlooked technical aspects of pianism as they relate to movement in keyboard space generally as well as fingering specifically.

Symmetrical fingerings for all the fundamental forms are presented in innovative, instructive format. The reader will also find an unusually extensive, in-depth discussion of double note challenges. Answering Neuhaus's call for the reappraisal of a certain pedagogical status quo, several chapters are devoted to the relevant implications of Chopin's Fundamental Pattern. The author also advances guidelines for a progressive implementation of natural fingering principles from the very start, as well as "retooling" for teachers and students alike. Of special note are the cross-hand major and minor scales for the earliest stages, in which the necessity of thumb under/hand over pivoting actions is eliminated.

Natural Fingering is the first comprehensive discussion of fingering solutions for pianists since Hummel's monumental treatise of 1828. The book is complemented by a companion website, which serves as a supplement to the printed edition. The website features copious excerpts from the extant repertoire, extended discussions on relevant topics, and a comprehensive manual of the fundamental forms with symmetrically adjusted fingerings.

_


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## millionrainbows

http://amzn.com/019978163X


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## Andreas

PetrB said:


> The all white-key C scale is also well known as the most difficult because regardless of fingering, nowhere is there an escape from having to 'flatten out' the thumb.


I find my fingers slipping off the black keys to be an issue, so the C major scale in that regard feels safer. However, it being more forgiving to inaccuracy might make it unsuitable for improving overall precision.


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