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This was also posted this in the Alfred's 2 thread, but I thought it would get more exposure in the general beginners forum. If someone could help me out on this, it would be appreciated.

I'm trying to work out the piece, Introduction and Dance, and I have a question about the suggested fingering on the top of the 2nd page.



Why should I switch from 1-5 to 1-4 in the first measure above?

It seems it would be easier just to keep the 1-5 formation and bring the hand down, and then you only need to move one finger to play the sharp in the next measure. Is this just arbitrary in that either way is okay, or do you think they are trying to teach us something - perhaps more independent movement of the fingers?

Thanks in advance for your replies.

If you use their fingering you can maintain legato in the top notes, the melody. You can lift 1 while keeping 5 down, then play the next notes.

The important factor here is to play the first two double notes (G & E) and (F & D) in a Legato style as indicated by the the slur markings top and bottom. So if you remember that Legato = smooth, well connected the written finger is the best to achieve this.

Your suggestion to move the 1 & 5 fingers down would break the legato

Thanks, earlofmar, that makes sense.

Also,thanks ajames, I didn't see your response earlier.

Or you can keep the fingering 1-4 for F# and D in the second measure, then use 1-3 (or 2-3) to play A and C. To make it legato, keep your 4th finger down on the D, lift your 1st finger off the F#, then play A and C with 1-3 (or 2-3) and lift your 4th finger off D. Using 2-3 for A and C means you can make it legato for both the top and bottom notes.

Whether 1-3 (or 2-3) is good fingering depends on what comes next. However, since it's slurred, you don't have to join the next note(s) anyway.

There's more than one way to play. So what's "best" depends on your hand, your techniques and your interpretation of the music (phrasing/voicing etc).

As completely different alternative I would use the standard fingering for scales in sixths, so 5-2 to 4-1 in the first two. then switch to 5-2 on the D-F# and 1-4 for the C-A
To me is easier to keep a light touch on a sharp # if you can use any other finger than the thumb.

If melodic line written in two voices, it is recommended preliminary work on each voice separately with appropriate fingering and articulation. Legato refers to both voices in the same measure, and of course the combination of 25 -14 is ideal.

The most natural fingering probably depends on where you are in your experience at the moment.
For me after working on a lot of certain classical pieces the 1st bar is fine and natural. But in the 2nd bar I would use 2-5 and then what might surprise you: 3-5 (continuing the movement of the RH in the same direction).
The 3-5 at the end of the 2nd bar feels natural to me, unless there's something coming up in the 3rd bar that invalidates that choice.