Fingering is one of the most important aspects of piano playing. Without careful and thoughtful fingering, you will fumble and play sloppily. Since this is not a beginner method book, it is assumed that you know something about fingering on the piano. Therefore, fingering is not indicated in each and every exercise. On particularly “snaky” musical exercises, fingering will be included. Also, basic fingering for most scales and arpeggios will also be included.

FIGURE 2-5: Correct Posture: Arm, Hand, and Finger Position on the Piano

However, many of the exercises and study pieces found later in the book can be interpreted in a number of ways. There is not always one way to finger each phrase or musical passage. Often, it comes down to personal preference, which is based on your hand size and your skill level. Recognizing this, you will need to map out your own fingering on select musical examples. Take the time to do this. Don't leave fingering to chance unless you are a really adept pianist. For most intermediate-level players, it's important to consider fingering options before attempting to play a piece of music.

If you're self-taught, you might not know the fingering system used in musical notation. On both hands, the thumbs are called finger one, the index fingers are called finger two, the middle fingers are called finger three, the ring fingers are called finger four, and the pinky fingers are called finger five. See FIGURE 2-6.

Each finger has its strengths and weaknesses. Since the thumb is situated on the side of the hand, it must cross under the fingers to maneuver up the keyboard. This can be tricky and this movement requires practice. The index (pointer) fingers and middle fingers are the strongest. The ring fingers are least coordinated, and the pinky fingers are usually the weakest. Whether you play rock, blues, or any other style of music, it's important to practice technical exercises to develop strength and stamina in all of your fingers.

FIGURE 2-6: Fingering Chart