This is Part 2 of the article which deals with the most efficient fingering for Romantic and modern organ music. Please read Part 1 here.
Arpeggio and Chord Fingerings. When you notice a place with an arpeggio in it, think in terms of a chord. In other words, the standard way to play arpeggios is by using the chord fingerings. For three note root position chords, such as C E G, use 1 3 5 in the right hand or 5 3 1 in the left hand. For first inversion chords, such as E G C, use 1 2 5 in the right hand or 5 3 1 in the left hand. Second inversion chords, such as G C E are best played with 1 3 5 in the right hand and 5 2 1 in the left hand. For chords, starting on the sharp or flat note (B flat D F) we have to use the same fingerings.
Play chords with four notes, such as C E G C, with 1 2 3 5 (right hand) or 5 4 2 1 (left hand). Play the first inversion E G C E with 1 2 4 5 (right hand) or 5 4 2 1 (left hand). The second inversion G C E G is best played with 1 2 4 5 (right hand) or 5 3 2 1 (left hand). The main rule for using 3 or 4 in the middle of an arpeggio or a chord is an interval of the third. If the third is major (as in C E), play with 3. If the third is minor (as in E G), play with 4.
Finger Substitution. This technique allows achieving a perfect legato when playing more than one voice in one hand. Finger substitution basically involves changing fingers on the same note. The most common instance for finger substitutions are passages in double thirds, sixths, and other intervals. Sometimes when playing more chromatic music we have to change fingers on three or four note chords as well.
Finger Glissando. Finger glissando is a technique of sliding from one key to another with the same finger. We use it to achieve legato primarily when playing more than one voice in one hand. Passages of chromatic scales in double thirds and sixths are typical places for this technique.
Finger substitutions and glissando in single voice passages are somewhat less orthodox. More often we play these passages using finger crossing, scale fingering, position fingering, or chord fingering instead. Moreover, very often when a person uses finger substitution or glissando in a single voice passage, it is evident that he or she did not give much thought about the fingering in advance.
I suggest you write in fingerings in every piece that you play on the organ, at least in the beginning of your organist career. This will diminish chances of playing with accidental fingerings which will hinder your progress. Choosing fingering, of course, should be done before the actual practice of the piece. If there are several options available, try all of them and choose the one which is the most efficient and comfortable for your hand.
By the way, you can write in fingerings for a shorter fragment and start practicing it right away without waiting to finish fingering the entire piece which might take a while. With experience you will start to feel the familiar patterns and you will instinctively choose the most efficient fingering automatically. Then it will be necessary to pencil in the fingering only in the most difficult places.
If you are really serious about not only developing your keyboard and organ technique but also your sense for fingering, I highly recommend playing scales in octaves, thirds, sixths and tenths, and also in double thirds, and double sixths in all 24 major and minor keys regularly. Playing in double intervals is an invaluable exercise for finger substitution and glissando. In addition, practice chords, short and long arpeggios on the tonic, dominant, and diminished seventh chords. A great resource with fingering guide included is The Complete Book of Scales, Chords, Arpeggios and Cadences. It includes all the major, minor (natural, harmonic, melodic) & chromatic scales - plus additional instructions on music fundamentals.
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
Arpeggio and Chord Fingerings. When you notice a place with an arpeggio in it, think in terms of a chord. In other words, the standard way to play arpeggios is by using the chord fingerings. For three note root position chords, such as C E G, use 1 3 5 in the right hand or 5 3 1 in the left hand. For first inversion chords, such as E G C, use 1 2 5 in the right hand or 5 3 1 in the left hand. Second inversion chords, such as G C E are best played with 1 3 5 in the right hand and 5 2 1 in the left hand. For chords, starting on the sharp or flat note (B flat D F) we have to use the same fingerings.
Play chords with four notes, such as C E G C, with 1 2 3 5 (right hand) or 5 4 2 1 (left hand). Play the first inversion E G C E with 1 2 4 5 (right hand) or 5 4 2 1 (left hand). The second inversion G C E G is best played with 1 2 4 5 (right hand) or 5 3 2 1 (left hand). The main rule for using 3 or 4 in the middle of an arpeggio or a chord is an interval of the third. If the third is major (as in C E), play with 3. If the third is minor (as in E G), play with 4.
Finger Substitution. This technique allows achieving a perfect legato when playing more than one voice in one hand. Finger substitution basically involves changing fingers on the same note. The most common instance for finger substitutions are passages in double thirds, sixths, and other intervals. Sometimes when playing more chromatic music we have to change fingers on three or four note chords as well.
Finger Glissando. Finger glissando is a technique of sliding from one key to another with the same finger. We use it to achieve legato primarily when playing more than one voice in one hand. Passages of chromatic scales in double thirds and sixths are typical places for this technique.
Finger substitutions and glissando in single voice passages are somewhat less orthodox. More often we play these passages using finger crossing, scale fingering, position fingering, or chord fingering instead. Moreover, very often when a person uses finger substitution or glissando in a single voice passage, it is evident that he or she did not give much thought about the fingering in advance.
I suggest you write in fingerings in every piece that you play on the organ, at least in the beginning of your organist career. This will diminish chances of playing with accidental fingerings which will hinder your progress. Choosing fingering, of course, should be done before the actual practice of the piece. If there are several options available, try all of them and choose the one which is the most efficient and comfortable for your hand.
By the way, you can write in fingerings for a shorter fragment and start practicing it right away without waiting to finish fingering the entire piece which might take a while. With experience you will start to feel the familiar patterns and you will instinctively choose the most efficient fingering automatically. Then it will be necessary to pencil in the fingering only in the most difficult places.
If you are really serious about not only developing your keyboard and organ technique but also your sense for fingering, I highly recommend playing scales in octaves, thirds, sixths and tenths, and also in double thirds, and double sixths in all 24 major and minor keys regularly. Playing in double intervals is an invaluable exercise for finger substitution and glissando. In addition, practice chords, short and long arpeggios on the tonic, dominant, and diminished seventh chords. A great resource with fingering guide included is The Complete Book of Scales, Chords, Arpeggios and Cadences. It includes all the major, minor (natural, harmonic, melodic) & chromatic scales - plus additional instructions on music fundamentals.
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
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