I have one piece with a C♯-A minor sixth running down one octave in chromatic run. There are situations where a fourth row is quite handy in connection with chords. So it pays to develop the fingering chops that allow you to stay on a three-row strip reliably. These three-row jumps are disruptive to fingering patterns and can often not be done at speed. Running out of rows means having to jump 3 rows to get back into the action. If you try to employ the five rows for simplifying chord patterns and only having to learn one fingering, youll be running out of rows (you need at least 6 rows to have this work with common chords). Five rows allow you to transpose 3-row pieces anywhere without changing the fingering.
But nonetheless, give yourself a goodly period gaining fluency with your home-base, default-3 first.Ĭlick to expand.The reason to avoid that is that rows are not an inexhaustible resource. After that, you'll slowly start to conceive fingerings using the 4th (or more rarely 5th) that may not be "absolutely necessary," but are just preferable to you.Īs it so happens, chords are the area where the repeater rows are most helpful, and you will certainly be using them for chording.
Once you're gotten very adept with them, you may venture onto the 4th on an "only when necessary" basis. The outer 3 will be your home base and default position. The outer 3 rows are the core of your fingering arrangements, and it's a good idea to gain fluency and fluidity with them before branching out into the alternate possibilities beckoning from the 4th and 5th row. This counsel is not limited to chord formations.įortunate though you certainly are to be starting on a CBA like the Hohner Riviera that has five rows and all the choice that presents: If you are a beginner just starting out as described in your OP, I counsel sticking with the outer three rows and avoiding the two inner "repeat" rows for a hefty period of time. But I'll give you some advice anyhow, regarding the right-hand "treble" side. The posters above are absolutely correct that there is no one "correct" fingering method. He was missing his third finger, so what was the "correct" fingering for him? One of the best CBA players in the world only had 4 fingers on his right hand. You therefore need to work out what is comfortable, and experiment as necessary. If you are like the rest of us, the flexibility (or lack of same) of your adult wrists and fingers will place a degree of limitation on your possibilities. If you are a child with elastic wrists and fingers, you may be able to slavishly follow the fingering notation until the end of the book. If tuition by a teacher is not an option for you, try and find a method book that was printed after 1980, use it as a rough guide, then give it away to another beginner once you realise that the fingering charts must have been made for someone whose right hand works differently from your own.
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Even when you are quite proficient you'll often find you play the same piece with different fingering purely by accident.Īs Donn has indicated, the forum is full of debate on the trials and tribulations of CBA fingering, and scarcely any two teachers will completely agree on the matter.
There is no "correct" way to play anything whatsoever on the treble keyboard of a CBA. Paul De Bra has given the most concise and useful advice there is available.
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Some people download the solution for solving the Rubik's Cube, and still cannot manage it. If you are worried about any hang ups before you start, that's going to hold you back for a very long time.
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