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What Are the 4 Types of Fingering Suited for the Performance of Early Organ Music?

Playing early organ music requires a lot of knowledge of registration, articulation, fingering, and other aspects of organ playing. Fingering in particular is an area where the right choice can facilitate the execution of articulation, phrasing and ornamentation. The correct finger grip can even help you feel the pulse and the meter more easily. If the organist plays a baroque or renaissance organ piece with the correct tunings, he has a much better chance of performing it in style. In this article, I would like to present 4 types of fingering suitable for music composed before 1800.

1. Paired fingerprint. The most famous type of early fingering, double fingering, is primarily used for monophonic passages in one hand. When used correctly, it can help emphasize the meter and heart rate. Double fingering is based on the idea that the notes of stronger beats should be played with stronger fingers. Authors of treatises from different national schools had their own ideas about strong fingers. They were even referred to as good and bad fingers.

2. Place your finger. This type of fingering means choosing fingers that can play the most notes without changing positions. Similar to double fingering, position holding is also used for solo sections.

3. Interval Fingering. While pair and position fingering are best suited for solo passages, interval fingering is used to play two notes in one hand. Thirds with 2-4 or 1-3, fourths with 2-5 or 1-4, fifths, sixths, sevenths and octaves with 1-5 it’s best to play. A succession of intervals of the same type is played with the same fingers.

4. Chord Fingering. Due to the narrower keys of 16th and 17th century organs, chords (and solo parts) in early music are often played without the thumb. For example, the first inversion major chord EGC can be played 2 3 5 in the right hand). Chords on the left are often wider than in CGC and are played with 1 2 5. A general rule in Renaissance and early Baroque music is to avoid using the thumb (especially on sharp keys). However, there are many cases where the thumb cannot be avoided, such as in G minor or F major music.

Due to the chromatic nature of JSBach’s music and the complex keys used in his works, playing with the thumb and crossing the fingers is quite comfortable. However, for the legato playing style used in organ music written after 1800, try to avoid finger substitution and glissando.

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