Many beginning organists have a hard time choosing the correct and efficient fingering for their music. Without knowing the fundamental principles of fingering, it will be difficult to achieve perfect legato and play with precision and accuracy. In this article, I will give you 3 techniques that will help you choose the most efficient fingering in romantic and modern organ music.
1. Fingering chords and arpeggios. When looking at a place with an arpeggio, think in terms of a chord. In other words, the standard way to play arpeggios is by using chord fingerings. For three-note root position chords, such as CEG, use 1 3 5 in the right hand or 5 3 1 in the left hand. For first inversion chords, like EGC, use 1 2 5 in the right hand or 5 3 1 in the left hand. Second inversion chords, like GCE, are best played with 1 3 5 in the right hand and 5 2 1 in the left hand. For the chords, starting with the sustained or flat note (B flat DF) we have to use the same fingerings.
Play four-note chords, such as CEGC, with 1 2 3 5 (right hand) or 5 4 2 1 (left hand). Play EGCE First Inversion with 1 2 4 5 (right hand) or 5 4 2 1 (left hand). The GCEG second inversion is best played with 1 2 4 5 (right hand) or 5 3 2 1 (left hand). The main rule of thumb for using 3 or 4 in the middle of an arpeggio or chord is an interval of a third. If the 3rd is major (as in CE), play 3. If the 3rd is minor (as in EG), play 4.
2. Substitution of fingers. This technique allows you to achieve perfect legato when playing more than one voice in one hand. Finger substitution basically consists of changing fingers on the same note. The most common example of finger substitutions are passages in double thirds, sixths, and other intervals. Sometimes when playing more chromatic music, we also have to change fingers on three or four note chords.
3. Swipe. Finger glissando is a technique of sliding from one key to another with the same finger. We use it to achieve legato mainly when playing more than one voice in one hand. Passages of chromatic scales in double thirds and sixths are typical locations for this technique.
I suggest that you write fingerings on every piece you play on the organ, at least early in your career as an organist. This will decrease the chances of playing with accidental fingerings that will hinder his progress. The choice of fingering, of course, should be made before the actual practice of the piece. If there are several options available, try them all and choose the one that is most efficient and comfortable for your hand.
You can write fingerings for a shorter piece and start practicing it right away without waiting to finish fingering the whole piece, which can take a while. With experience, you will begin to feel the familiar patterns and will instinctively automatically choose the most efficient fingering. Then it will be necessary to draw in pencil the fingering only in the most difficult places.