You find the clean score and start studying but.......to begin noting down the fingering, what is the best procedure? Do you try the piece hands separately, noting the fingers that are most functional for various passages and so on, or are there faster and more interesting methods? When I had a teacher, he was the one who dictated the most appropriate fingering since my own annotations were sometimes unmusical, whereas his choices, although seeming difficult at first, proved to be better later on. Do you have any advice?
@ How hard it is not being able to study much and struggling so much before having the piece in your hands....
If the passages to finger are very difficult, I usually try them hands separately at speed to find the right fingering; if they are not particularly complex, I try them directly hands together...
Given that fingering is at the service of music (it is only a technical means), the ideal would be to analyze the piece by identifying the constructs that characterize it.
Only once you have understood how the piece is constructed can you make interpretative choices and decide how to set the fingering, following phrasing X, voice Y, articulation Z, etc.; in short, whatever is necessary to best convey your idea.
I agree with Frank in the sense, in my opinion, that each of us can finger differently. "the most natural gesture" dictates the correct fingering unless there is a need to emphasize certain notes, such as at the beginning of Beethoven's 32 variations where after the 5th finger of the double note group, it seems to me, in the second or third bar, one skips with the 3.!!!!! Great effectiveness!!!!
In complete agreement indeed with Frank and Paolo. In my opinion too, the poetic and executive choice (that is, the rendering of the piece) must somehow be served by the search for an adequate fingering but..... it is not always easy to find it immediately. Right now I am fingering the Scarlatti sonata, the famous L 33, and if possible I will post it to get some tips. Bye and thanks.
