The performing pianist's guide to fingering

목차 (Table of Contents)

• CONTENTS
• Preface = xi
• Acknowledgments = xv
• Part I Fingering Techniques / Joseph Banowetz = 1
• 1 Fingering Keyboard Works of Selected Composers and Styles = 3
• Possible Choices of Fingering for the Advanced Pianist = 3
• Changing a Finger on the Same Note for Legatissimo = 3
• Crossing Fingers Over or Under = 6
• Changing Fingers on Repeated Notes in Chords = 9
• Playing Legato Chords That Span an Octave = 9
• Retaking Notes Silently = 10
• Positioning with Fingering for a Jump or Change of Hand Position = 11
• Using Pattern Fingerings in Passage Work = 14
• When to Avoid Playing Low Notes of Chords with Fifth Fingers = 19
• Playing More than One Note with a Finger = 20
• Using 5-3 to Project Top Melodic Tones = 24
• Block Fingerings = 25
• Chromatic Scales in Single Notes = 28
• Taking Top Notes of Rolls, Runs, and Arpeggios with Strong Fingers = 31
• Playing Rapid Mordents, Mordent Figurations, and Turns = 34
• Fingering Turnabout Patterns for Clarity = 37
• Fingering in Extended Tremolo Passages = 41
• Playing Legato Octaves = 42
• Playing Slurred Octaves = 48
• Playing "Blind" Octaves = 49
• Skipping a Finger to the Next Note for Clarity and Possible Emphasis = 49
• Using the Same Finger for Portato Touch = 51
• Refingering Two-Note Glissandos = 52
• Composers' Indications for Fingerings = 53
• The Breaking of Hands and Rolling of Chords by Pianists from the Late Nineteenth and Early Twentieth Centuries = 62
• 2 The Fingering Redistribution of Hands : Pros and Cons = 63
• Redistributions to Avoid Rolls = 67
• Redistributing Large Chords and Intervals to Obtain Clarity and Clean Pedal Changes and to Avoid Unwanted Rolls = 69
• Redistributions for Achieving a Better Hand Position in Preparation for Making Jumps, Moving to Large Chords, and Positioning for Large Intervals = 72
• Redistributions to Position for Large Skips and Rolls = 75
• Redistributions for Achieving Controlled Voicing and Technical Clarity = 78
• Redistributing to Better Shape Slur or Phrase Endings = 81
• Redistributions for Clarity, to Relieve Stress, for Speed, and for Accuracy = 81
• Redistributions to Keep Clear Textures and Rhythms = 86
• Redistributions to Facilitate Finger Pedaling = 88
• Vladimir de Pachmann's Redistributions in Chopin's Prelude, op. 28, no. 2, as Notated by Leopold Godowsky = 90
• Videos of Famous Pianists Using Redistributions = 92
• Appendix : The Fingering of Benno Moiseiwitsch in Manuscript Illustrations / Philip Fowke = 95
• Part I Bibliography = 109
• Part II Baroque Fingering and Interpretation : What Can a Modern Pianist Learn? / Nancy Lee Harper = 111
• Introduction : The Pianist's Dilemma = 113
• My Interest in Baroque Fingering and Its Impact on My Playing = 115
• 3 An Overview of General Baroque Fingering Concepts = 117
• C. P. E. Bach's Approach to Fingering Technique = 128
• Mention of Baroque Women's Contributions = 129
• Summary : Axioms for Baroque Fingering = 133
• 4 Articulation (Attack, Decay, Lifting, Slurring, Affekt) = 136
• Attack and Decay = 136
• Lifting = 139
• The Doctrine of Affections (Affekt) = 140
• Slurring = 141
• 5 Hand Splitting or Redistribution, Stemming, and Cross Hands = 144
• Hand Splitting or Redistribution = 144
• Stemming = 146
• Cross Hands = 147
• 6 Crossing and Turning of the Fingers = 149
• 7 Repeated Notes, Glissandi, and Implied Fingering through Musical Figures = 154
• Repeated Notes = 154
• Glissandi = 155
• Musical Figures Dictating Fingering = 156
• 8 Fingering in Ornamentation = 160
• Scarlatti's Trills and Tremolo = 162
• 9 Fingering in Chords and in Chordal Realizations = 169
• 10 Bach's Poetic Meter = 178
• Rhetoric in Speech in Bach's Keyboard Works = 178
• Rhetoric in Semantics from Bach's Keyboard Works = 180
• Rhetoric in Structure : Some Dance Examples from Bach's Keyboard Works = 181
• Notes inegales = 182
• The Overdot = 184
• Fingerings in Metric Shifts = 185
• 11 Singing with the Fingers = 189
• Finger Substitution = 191
• Finger Slides = 192
• Finger Pedaling = 192
• 12 Dancing with the Fingers : A Guide to Understanding Scarlatti's Iberian Sonatas When Choosing a Fingering = 195
• BriefCase Study of Scarlatti's Sonata-Bolero in D Major, K. 491 = 203
• Conclusion = 209
• Part II Bibliography = 213
• Index = 219