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YƤ1;;Word Pro Text File/DFBAm@PPPPP-PPP@Jonathan DarnboroughV}@V@Q@@@ @ SmartMasterH@ASMH@Jonathan DarnboroughH@AJDXP p@@UNIVERSAL_SMARTMASTER_EDITOR@ESMX@@@q pcPP`@@q pcPP` @UNIVERSAL_ALL_OTHERS_EDITOR@FOTRX@@@q pcPP`@@q pcPP` @Jonathan Darnborough@EJDX@@@q pcPP`@@q pcPP`B@QCB PP p !xFFp= yqp~ qPHPHPHPH(x qQdIZ+ q@Tp= APHBPHBgf ( xAQdHHAQdHHq !A@Bz$Bp= A!@B?Bp= ~APHBgf PHB(3ACFSHHc  {FSHHe AAk qAy}-?@En8xP@P@@@ P@@@P @@@PpP@@@Pps>LH @@@d*plC|@@@"q!@@ @@P@c xpp  @@@PppP @@@ fqcP`R@d H@dZZ Z Z Z pH@PZ  pH@P pH@P pH@P pH@PZZZZ(( /!("(# ($(%(&('Z(Z)Z*Z,Z-fZ.cZ/dZ0eZ17Z2 $Z3 Z4 Z5Z6nZ7*Z8 Z9 %Z:Z;Z Z Z >H@@ ??X@P`@@P`@@Pp@P`@@Hx``@@Hx``PC q@@P@ xA yx@Hx@Hx@Hx@Hx` % x@@@Q $ $ %yy'ABBBBRBBB A&PHPH q %@@@@Q 3&AItB A]Ay- }Ex$ ?} @ExP:An@P@P@@@ P@@@P @@@ X@@@Pp>!A*@EH@ Default Textlq@@@@P |C@@@P !"AO@@ @@P@?7@-@<@Pc@P c@P c@P | @@@P *>pEH @ Heading 1 #OA @@@@P@A@Aj& $ p`@x@%]A $Az ABff4&A3Bz$Bz*&  p`@x@]A%AHHPHA s-ExP:A@P@P@@@ P@@@P @@@ P@@@PpO!A #@@ @@P@ A%@p@ q@AJBABffbff,7q@P@P@@@ P@@@P @@@PpP@@@  Aff, ABffbff€BBB ?xEJ UPP  #x@ @@P@ p@@@P H$@P@P P P  DADxQE @QDs%D@@EBodytBPP@EBody@p F  V uAuxpA@P # AyU@@Default FooterXA@BQJA +A P@EFooter %A@@@Default Footer Styleh$@aAAAyA@ @YAfAdAe@ XQ $@c .X +u@pA@A XRA =A +P@EFooterI /A #A %Iyy@ @Y XQ@c /* BA ,yd@Q . $@FStory BA ,Y 0A 0AmU A xpA@P q #yU@@Default HeaderXA@BQJPA #AP@EHeader A@@@Default Header Styleh$@aAAAyA@ @YAfAdAe@ XQ@c +Wq .yu@pA@A XRPA .A #P@EHeaderI ,A A Iyy@ @Y XQ@c ,, /Bqd@Q + $@FStory /BQ -A -Amu .A +AV@@ Default PageQA@JIXA @CPageH@@Default Page Styleh$@@ Default TextIxAA~AyAc@ iAfAdAe@ @Printer Folder SettingH$@@ &d@Q ,@FStory ALAmT AxpA@P CU =@pH@B PRy =P@EFooterI HA #A %Iyy@ @Y XQ@c H*8A Byd@Q C @@FStory8A BY IA IAm =Wq Cy@pH@B PRPA CA .P@EHeaderI BA A Iyy@ @Y XQ@c B* HA /yd@Q = @@FStory HA /Y KA KAm@ CA =AT@iH@IAAuP@CPageIAu+ A p@t q@@PU mFFp=A@CHOWhen deciding the fingering for a passage of music there will usually be a choice and no one fingering will be without its advantages or disadvantages. Try to arrive at the best compromise for you between what feels comfortable for the brain and what feels comfortable for the fingers.HdPAlnF SEnd K=ZmFF|A B@D@HPrinciples of fingeringSSEnd/d A8x @mzqk@ Default TextP@@@i@@Default Text Style@@@pE A@x`aAnD}AA"x@@@PP@@@  r H@@a  IPAmFF(A H@ASSEnd:Q>A IY@CHH!playing same fingers in each handHdPAlnF SEnd>KFA:IY@CHHminimising position changesHdPAlnF SEndFqOA>IY@CHH@shorter fingers avoiding black notes but only if possible easilyÁHdPAlnF SEndO[[AFIY@CHH+placing strongest fingers on stressed notesHdPAlnF SEnd[h AOIY@CHH8grouping fingering to match stress patterns of the musicHdPAlnF SEndaHdA IYmFF)\A@D@HThe brain likes:HdPAlnF SEndd.gAaIYmFF)\A@CHdPAlnF SEndgKjAdIR@CHHSimplest possible patternsHdPAlnF SEndjxRAgIY@CHHGRepeated musical patterns to be mirrored by repeated fingering patternsHdPAlnF SEndR.UAjIYmFF)\A@CHdPAlnF SEndUy ARIYmFF)\A@CHHAFingering can very often be best worked out by working backwards!HdPAlnF SEndLq BJ  mFF(\A@CHOThis is only true when the repetition is too fast for a single finger to accomplish it. The myth arose from poorer actions on early pianos that frequently either jammed or failed to play on repetition. The idea of changing the finger was that the player would be sure to released the key fully before replaying it. This meant the notes would be less likely to jam or not sound. modern piano actions make this precaution totally unnecessary.TPAlnF SEndZHZOZIZJYmZG  ZLZP:ZNZW AxpA@PX AxpA@P\[u^_`abZKZQb(Ru(S CM;(e(f8c(g(h(i(j]  # #AyU@@ Default FrameQ A@IQXAAP@DFrameH@@Default Frame Styleh$@@ Default TextIAAAAc@ @YAfAdAe@ A]@ 0PAm /@ASSEndU@@Default Drop CapQ A@IQXA AP @FDropCapIAxH@@Default Drop Cap Styleh$@@ Default TextI&AAAyA@!AfAdAe@ X@Dzb%@@ ) ,Bqd@d@FStory ,BWm -PAm ,@ASSEnd 'Ayd@d@FStoryAYAAm 8"q Hyd@d@DStoryq HY9A9Amk0mAo@ Note Initials`P@Y@x`al2 Z :1@Engineering NumberingI8@ OX+@Outline (Not Indented)P@@@i@"@ Left Justified Outline Numbering@@@pE A@A+@D  O @@@QP mqW@@ Default TableQH@@RB0PAAP @ SuperTableH@@Default Table StyleAy@. 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UIYmFF)\A@CHdPAlnF SEnd Z B AYmFF{A@D@H Two myths that must be dispelled@dPAlnF SEnd . A IYmFF)\A@CHdPAlnF SEnd s A IYmFF)\A@D@H:MYTH [1] that the thumb is not allowed to play black notes@dPAlnF SEnd .  IYmFF)\A@CHdPAlnF SEnd ,  IYmFF{.A@CHHThe thumb is a shorter finger and is, therefore, not the first candidate for playing the black notes but there are many occasions - from repertoire of all periods - when the thumb is the most sensible finger to use on a particular black note.HdPAlnF SEnd /  AYmFF)\A@CHdPAlnF SEnd t B AYmFF)\A@D@H:MYTH [2] - that you should change finger to repeat a note.@dPAlnF SEnd . A IYmFF)\A@CHdPAlnF SEnd  qP qLBBA@r z  t B  PP  N  qL@@Aj;  H$@P@P P P DEiEa H@H@@P@@P@@PPpPP`@p@P P wq]@DQGAOALQPQHATANAYAZAVAUAWAXA\A[A^A_A`AaAbAIAJAKAQARASAM dAeAfAcAgAhAiAjP@P cpcP cpcH dP@QH pcPa cpccpcPaH pcPaUUH cpcP@QHdP@QTT cpcP@QTT cpcP@QH dP@QUUH cpcP@QHdP@PP cpc@@Times New RomanHWH@ MS Sans Serif H @ WingdingsH @ Arial Black H@Arial h@@ H@GH@ ]AAQrys@@George P. 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