You wouldn’t believe how often I see students playing piano while using extremely awkward fingering, and I’m sure that this is something which interests beginners and intermediate players alike.

Contrary to what you may believe, this is actually quite a controversial subject.

While many people believe that proper fingering is essential when playing the piano, others feel that free-style is better.

So, let me go ahead and discuss how I feel about this issue.

First of all, everyone has different fingers in terms of length, but one common factor is that our thumbs are shorter than our other fingers.

As a rule (or rule of thumb), the thumb is the strongest finger of all. Thumb, index finger (2nd), and long finger (3rd) are the most used fingers for piano playing. The fourth finger and fifth finger are weaker fingers.

Below are four fingering tips that I have worked up as general rules for your use and information:

1. Never use the thumb to play a black key. The exceptions are a) when you are playing a piece that has all black notes. b) when you are playing a group of keys where there are black and white keys. For example if your right hand is to play Bb, D, and F together in Bb major chord root position,your thumb will play Bb (black note) in this case.

Because the thumbs are relatively short, they are simply not meant to be used for playing the black keys. As a general rule, it’s the second and third fingers which are used for playing black notes. If for example you are playing a piece that starts with a black key, you will use your second and third fingers to play the first note rather than the thumb.

2. When playing melody with the right hand, if there are keys that are out of reach, you may move the hand to play the note. If the key is only a couple steps down from the thumb, you may use the thumb as an anchor and cross the second finger over to reach the note on the left side of the thumb. You do not need to move the hand. Only move the second finger over.

Once the second finger plays the key, the thumb will soon follow to cross over to play other note left of the key. Suggestion: practice the scale well to know what finger to follow.

3. Identical rule applies to the left hand.

4. Watch other experienced pianists whenever possible, look at their fingering and imitate their movements. I suggest you watch those players who are well trained classically as they have spent many years going through the structured repertoire and virtuoso training that help built a firm foundation.

One important point: The function of good fingering is to ensure smoothness of musical passages.

When playing the work of Bach and that of other similar composers, this becomes especially important, in that disruptions can occur when there is even a slight change in fingering structure. Of course, if you’re only playing improvisational and accompaniment pieces then there’s less need for strict fingering. When I play improvisational pieces my fingering usually changes in line with my mood and the rhythm.

If you pay attention to musical pieces edited by different editors, you will notice a change of fingering as well. I have noticed that the same “Sonatina” piece composed by Clementi have different fingering suggestions under different editors. Some editors use the 2nd finger more often, while others choose the 3rd finger.

To end off: you can pay less attention to which finger you are using if you’re improvising, providing you apply the rules which have been discussed above.

Remember, if you become too radical with regards to fingering, there’s a strong possibility that it will distract you enough to interfere with the flow of your music. After all, playing piano is all about conveying music, and your aim should always be to maintain a steady, smooth flow. Lastly, always make sure that the pedals are being pressed at the right time.

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