This complicated things, I’d say.įingering seems to be complicated because it seems to be a function of three things: what fingering you’re coming from, your current chord/voicing combined with melody line that you need fingering for, and what you are going to play next. Say, an F could be played with any finger, depending on circumstances. When playing the violin there is to a large degree a fixed mapping between tones and fingers, but that doesn’t seem to be the case with the piano. Is it ok to from playing D-A with 1 5 (right hand), and upon realising one needs to play a B, to cross over 5th with 4th finger? Bad practice? I guess so, but what shall one do instead? (For the example I do 5 3 1 to 3 2 1, left hand.) Let’s say when going from G+ to G7/F I bump into the black keys and I don’t know, and generally don’t know, what fingering is right. Maybe it depends on whether one plays chords or melody. But when looking at a video of Chick Corea I see that it seems he stays “flat”, with hands stretched out, repositioning them when needed, instead of being curled up around the thumb. Therefore one thought of mine is to generally try to stay on the thumb, both hands, because then you can go in both direction (over the thumb, if needed). Since I aim at becoming an improviser I think I need a strategy at fingering which is highly flexible and can adapt to direct change.
#Ten thumbs jazz how to#
I’m currently learning through Blake Neely’s How to Play from a Fake Book and I’m stuck at fingering. My goal is to become a jazz pianist/improviser.
Nice party you got here at Stack Exchange.
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