I'll change fingers on a couple of repeated notes in fast passage work, but if its a long string of them like in Appassionata (or if its a lyrical melody like in 4th Ballade) then I won't change.

Well, it's not like I can't trill well with 23, but 35 seems more consistently obedient.

Ah, the D-flat at ms.130 (I felt like listening to your Appassionata -you did a very fine job). This reminds me of a most illustrious example of that gimmick.

Out of curiosity, why did you use the fist? I don't think it is of particular advantage there. In ABM's case I suspect it was merely for tone control.

Because I found it gave me the best balance of power and accuracy, that's all. I wouldn't say it was a gimmick, I wouldn't have done it if there wasn't a good reason.

You're right, "gimmick" was not the best choice of word. In fact I do believe that the relationship with the instrument is so individual that "if it works it is good" is the best philosophy to follow.

Well, that's food for thought. I've always preferred trilling with non-adjacent fingers but I've never thought about why I avoid adjacent ones. I'm going to have to pay attention and see if you suggestion is the reason. Thanks!

When the hand is stretched, I am almost always using 4 where everyone else uses 3, even though I can reach with 3. For example, chords that look like C Ab C (going up) are all done with 145. I also try to trill with 34 everywhere, because I can :P

There's this rising chromatic scale at the beginning of the recap of Beethoven's Waldstein sonata, first movement, that I finger as 4-5-4-5 a la Chopin...hahaha.

Glad I'm not the only crazy around