is there a traditional guide for fingerings?

[seecee]

I'm back playing after MANY years of not - and I've forgotten a lot of the basics. Right now, I have the sheet music for the Bach Air from the 3rd suite. I'm wondering about this - and all other music, for that matter - when determining fingerings. Are there some basic "truths" about fingerings that I should attend to as I set about trying to find the best way to play this? All I'm trying to do at this point is avoid open strings most of the time. Can I get any guidance on this? Thanks! CC

[hdiddy]

Simandl is the defacto standard. Get a teacher and they'll help you go through it all.

Book 1 and prob book 2.

[seecee]

Ok - I'll check out my Simandl, but until I gear up with a teacher, are there some rudiments that I should be aware of regarding fingering?

[Bruce Lindfield]

Originally Posted by seecee

All I'm trying to do at this point is avoid open strings most of the time.

Open strings are your friends - don't avoid them!

Seriously, on DB you can't do without them for all sorts of reasons - not least so that your intonation is occasionally sound!

[seecee]

Refinement: I try to avoid open strings when they stand out and sound so different from the rest of the line. But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?

[neilG]

Originally Posted by seecee

Refinement: I try to avoid open strings when they stand out and sound so different from the rest of the line. But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?

As you say, it may depend on context, but generally, if it feels comfortable and sounds the way you want it to, there's no particular reason not to finger that way.

[Tom Gale]

Originally Posted by seecee

Ok - I'll check out my Simandl, but until I gear up with a teacher, are there some rudiments that I should be aware of regarding fingering?

Simandl is the basic 1,2,4 fingering system. There is also the open hand tech - 1,2,3,4 and the use of the thumb below the octave. The more techs you have, the better musical decisions you can make. One does not live by 1,2,4 alone anymore.
Tom Gale
asodb.org.

[Tom Gale]

Originally Posted by seecee

Refinement:......... But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?

In a melodic passage, look at which notes 'go with' other notes. Say, a passage ending Ab, Bb, C, D, Eb. (G string).
Bb 'goes with' the C and D with the Eb. So; 1/1 4/2 4 fits the melodic and fingering pattern. Even better is to end /1 2 - the 2nd finger being much more expressive that the 4th. Better vibrato, etc. even though you have to shift a 1/2 step further.
Tom Gale
asodb.org

[Tom Gale]

Originally Posted by Tom Gale

In a melodic passage, look at which notes 'go with' other notes. Say, a passage ending Ab, Bb, C, D, Eb. (G string).
Bb 'goes with' the C and D with the Eb. So; 1/1 4/2 4 fits the melodic and fingering pattern. Even better is to end /1 2 - the 2nd finger being much more expressive that the 4th. Better vibrato, etc. even though you have to shift a 1/2 step further.
Tom Gale
asodb.org

I should add; You could finger the passage 1 4/1 4/ 4 BUT the Bb to C - which musically 'go together' would be separated by a shift as would the D to Eb. Very UNmusical esp. the 4/4.
TG

[neilG]

Originally Posted by Tom Gale

I should add; You could finger the passage 1 4/1 4/ 4 BUT the Bb to C - which musically 'go together' would be separated by a shift as would the D to Eb. Very UNmusical esp. the 4/4.
TG

Why does the Bb "go together" with the C? That would depend on context and you've given none.

[Jazzdogg]

When playing billiards, the next three shots you hope to make must be taken into account before you can effectively choose how to approach the ball in play right now.

I find DB fingerings similar to "playing position" in billiards: the "correct" fingering depends on what was played before the present note, and the notes that will be follow. Context is everything.

There is seldom only one correct fingering. And the fingering that one player finds ideal may not work for someone else.

My two cents. IMHO. YMMV...

[Tom Gale]

Originally Posted by neilG

Why does the Bb "go together" with the C? That would depend on context and you've given none.

Try the 5 notes - 4 eighths and a quarter and see what happens.
TG

[Tom Gale]

Originally Posted by Tom Gale

Try the 5 notes - 4 eighths and a quarter and see what happens.
TG

Another thought; same 5 notes only dotted 1/8th, 1/16th repeat those 2 and a half note. Same finger pattern BUT reverse that - ||: 1/16th and dotted 1/8th; :|| and a half note, then 1 4/ 1 4/ 4 (2 is still better!) would be correct.! TG