Apendices (Natural Fingering)

Verbalis, Natural Fingering, Appendix 1
MAJOR SCALES
C
(5)
1
'' ' ' '

'
'
'
G ' ''''''
'
''''
'
'
'
''
' ' ' ' '
1
(5)
1
4
(3
3
2)
' ' ' '

'
'
'
'''
'''''
1
(5)
1
2
(3)
3
(4
2
3)
E
GE
(5)
1
2
(3)
(5
4
(3
3
2
2
1)
EEE
G
EEEE
G
'
''''
'
'
'
'''
' ' ' '
4)
''''
(5) 4
'
4
1
'
'
'
'
''
''''
3
(4
(5)
2
3
Copyright 2012, Oxford University Press, Inc.
1
2)
W1
EEEE
G E
F#
EEEE E
G E
4)
3 1
(3
2

G
' '''
(5)
1
'' '
(3)
2
''''
4
(3)
(3)
2
'' ' '
''
'''''
''''
'
'
'
'
' ' '
EEEE EE
G E
C#

G
'''
'''''
' ' ''
1
(4)
''
' '''
1
(4)
' ' ' ''

4
'
4
1
'
'
'
'
''''
(5)
(3)
2
'''
4
(3)
'''
''''
W2
D
4)
3 1
(3
2

G

G
(3)
2
'' ' ' '
'''
'''''
''
3
(2
3
3)
4
'''' '
'
'
'
''
' ' ' ''

' ' ' '
'
'
'

'
G ' ' ' ' ' ' '
3

G
G
(3)
4
(4)
1
' ' ' '

'
'
'
'
' '
' ' '' '
'''
'
'
'
'
' '''
' ' ' '
2
W3
MINOR SCALES
A Natural Minor
(1
(2
3
3)
3)
4
2
(5
1
4)
3
1
2
3
' '
'
'
'
' '
G
' ' ' '
'
'
'
'
1
A Harmonic Minor
4
1
'
E
'
'
'
'
'
'
'
G
' ' E'
' ' ' '
1
(5)
4
(3
3
2)
A Melodic Minor
E' E4' 1'

'
'
'
'
G
' E' E' '
' ' ' '
(5)
2
(3
(5
1
1)
4)
4
(3
3
2
2
1)
E Natural Minor
(1
(2
3
3)
3)
4
1
(5)
2
3
1
2
3
' '
'
'
'
'
E
'''
G ''''''
2
E Harmonic Minor
1
(5)
1
1
(5)
' ' E' '

'
'
'
'
E'
G ''''''
E
W1
E Harmonic Minor
(1
(2
3
3)
3)
4
3
(1
2
3
1
1)
3
1
3
2
'
E
'
'
'
'
'
'
E
E' '
G ''''''
2
4
(3
3
2)
E Melodic Minor
3
4
1
'
E
'
E
'
'
'
'
'
E' '
' ' ' E'
1 4
(5)
E
G ''
(5)
B Natural Minor
E
GE
(1
(2
3
3)
3)
4
1 2 3 1
2
3
' ' '
'
'
'
'
''
' ''''
'
1
(4)
B Harmonic Minor
4
1
'
E
'
'
EE
'
'
'
'
G
' E' '
' ' '''
1
1
(4)
(5)
B Harmonic Minor
E
GE
(1
(2
3
3)
3)
4
3
(1
1)
2 3 1
' E 2' 3'
'
'
'
' E' ' '
'
'
'
'
' 2 1 3 2 1 4 3 2 1 3 2 1 4 3
2
(3
2)
W2
B Melodic Minor
E
GE
3
E 4' '1
E
'
'
'
'
E' ' '

E
'
'
'
'
' 3' 2 1 4 3 2 1 3 2
1
(4)
(5)
F# Natural Minor
EEE
G
3 1 2 3
'''
'
'
'
'
'
' ''
' ' ' '
(2
3
3)
4
4
(3)
F# Harmonic Minor
EEE
G
3)
4
(2
3
' ' E'

' ' ' '
3
4
(3)
' E' '

'''''
F# Melodic Minor
EEE
G
(3
2
4)
3
E' E' '

'
'
'
' '
4
2
'
E
'
E
'
'
'''
3
(3)
4
(3)
C# Natural Minor
EEEE
3
1
2
'3
'
'
'
'''''
'
'
'
' ''
(2
3
3)
4
W3
C# Harmonic Minor
E EE
GE
3)
4 1
(2
3
' ''''
' E'
2
3 1
2
'3
E
'
'
'
''''
C# Melodic Minor
(3
2
EE
G E E ' ' ' ' ' E' E' '
3
4
1
'2
E
'
E
'
'
'
''
4)
3 1
(3)
G# Natural Minor
EEEE
G E
(2
3
3)
4
4
(3
3
2)
'''
'
'
'
'
'''
' ' ' ' '
G# Harmonic Minor
EE
G E EE
(2
3
3)
4
' 9' '

' ' ' ''
' 9' '

''''
4
G# Melodic Minor
EEEE
G E
(2
3
3)
4
E' 9' '

'
'
'
'
E' 9' '
' ' ' ''
W4
D# Natural Minor
E EE E
G E E '''''''
2
4
1
3
'
'
'
'
''''
2 1
(3)
3
(4
2
3)
D# Harmonic Minor
EEEE E
G E
'''
2 1
(3)
' ' 9' '

'
'
'
' ' ' 9' '
D# Melodic Minor
1
1
2 3 1 2 3 4
3 1 2 3 4
9 '2 '3
E
'
'
E
'
E EE
'''
G E E ' ' ' ' ' E' 9'
2 1
(3)
A# Natural Minor
EEEE EE
G E
(3)
4
'
1 2 3 4
''
'
''' '
'''
' ' ''
2
(3)
A# Harmonic Minor
EEEE E
G EE
(3)
4
' ' 9'

' ' ''
2
(3)
''
2
'
' ' ' ' 9'
2
W5
A# Melodic Minor
EEEE EE
G E
(3)
4
9'
' ' ' ''
2
(3)
9' '
9' 9' '

''''
1
3 2
A Natural Minor

G
3)
4
(2
3
'''
'
'
'
'
'
2
'
''
''''
4
(3
3
2)
A Harmonic Minor

G
(2
3
3)
4
' !'
' ' ' ''
3 1
2 3
'
!
'
'
'
''''
3
A Melodic Minor

G
3)
4
(2
3
!' !'
'
'
'
'
'
'
1
2 3
'
!
'
!
'
''''
E Natural Minor
4
1
2
3
'
'
'
'
''
'''''
2 1
(3)

G ' ' ' '
3
(4
2
3)
W6
E Harmonic Minor
2
2 1
(3)

G ' ' '

1
3
2
'
!
'
'
'
''' '
!
'
'
'
'
E Melodic Minor
4
1
2
'3
!
'
!
'
'
''' '

!
'
!
'
'

G ''''
1
2 1
(3)
1 4
B Natural Minor
'' ' '

'
'

'
G
''''
' ' ''
(3)
4
2
(3)
B Harmonic Minor

G
(3)
4
''
' ' ''
2
(3)
!' ' '
'
' ' ' ' !'
1 4
B Melodic Minor

G
(3)
4
' !' !'

'
'
'
'
2
(3)
''
!' '
' ' ' !'
W7
F Natural Minor
1 2 3 1
'''
'
'
'
'
'
' ''
' ' ' '

G
2
(3
(5
1
1)
4)
(4)
4
(3
3
2
2
1)
F Harmonic Minor

G
2
(3
(5
1
1)
4)
' ' !' '

' ' ' '
4
!' '
'''''
2
(4)
1
4
(3
3
2
2
1)
F Melodic Minor

G
2
(3
1
1)
' !' !' ' '

' ' ' '
2
'
' ' ' !' !'
3
(4)
1
C Natural Minor

G
(5)
1
2
(3
(5
1
1)
4)
4
(3
3
2
2
1)
' ' ' '

'
'
'
'
''
' ''''
C Harmonic Minor

G
(1
2
2
3
3)
4
(4
(1
1
5)
3)
2
2
(3
(5
1
1)
4)
4
(3
3
2
2
1)
' ' !' '

'
'
'
'
' !'
' ''''
W8
C Melodic Minor

G
(1
2
'
2
(3
2
3
3)
4 1
1
1)
!' !' '
'''
'
'
!
'
!
'
''''
3
(4
(1
5)
3)
(4
(1
1
5)
3)
2
3
2
2
1)
G Natural Minor

G
2 3
'''
'
'
'
'
'''
'
'
'
'
'
(1
2
2
3
3)
4
2
(3
(5
1
1)
4)
4
(3
G Harmonic Minor
4 1
E
'

' ''
'
'

'
G
' E' '
' ' ' ' '
1
2
(3
(5
1
1)
4)
4
(3
(5)
3
2
2
1)
G Melodic Minor

G
!' E' '

'
'
'
'
!' E' '
' ' ' ''
(5)
1
2
(3
1
1)
3
(4
2
3)
W9
D Natural Minor
' ' '

'
'
'
'
G ' ' ' ' ' ' ' '
(1
2
3)
3
2
(3
(5
1
1)
4)
(3)
2
4
(3
3
2
2
1)
D Harmonic Minor
4
1
'
E
'
'
'
'
'
''
G ' ' ' ' ' ' E'
1
2
(3
(5
1
1)
4)
4
(3
(5)
3
2
2
1)
D Melodic Minor
!' E' '

'
'
'
'
'
G ' ' ' ' ' !' E'
1
(5)
1
4
(3
3
2)
W10
MELODIC MINOR SCALES (HYBRID FORM)

A
2
3
4 (5)
'
E
'
E
'
'
'
'
'
G
E' E' '
' ' ' ''
52 41 3 2 1 4 3 2 1 3 2 1 34 32 12
1
' !' !' ' '

' ' ' !' !'
G
'' ' ' '
12 23 34 1 2 3 1 2 3 4 1 2 3 41 52
(5)
3 2 1
1 3 1 3 2 1 4 3 2 1
' !' !' '
' ' ' ' !'
E
'
1
3
4
'
E
'
E
'
'
'
'
'
'
E'
' ' ' ' E'
E
G '
4
51
(3
(3
4
1)
2)
3
'''''
1
4 (5)
W11
E
GE
' E'
' ' ''
3 2 1
4
3
1
4
E' '
2
2
4
'
E
'
E
'
'
'''
2
3 2 1
1 3 1 3 2 1 4 3 2 1
EE ' ! ' !' ' ' ' '
' !' !'
G
1
EE
GE
F#
3 4
(3
(3
4
1)
2)
3
''' ' '

4 1 2 3
41
4
1 3
'
E
'
E
'
'''
E' E' ' '

'
'
'
'
'
EEE '3 !2' !1' 3' 2 1 4 3

''''
G
3
3
3 2
4
!' !' ' '

' ' '
1
W12
C#
EE
GEE
3 4
2
' E'
' '''
E EE
GE
4
1 3
'
E
'
E
'
'''
E' ' '
' !' !' '

'''
2 3
3 2
4
'' '
' !' !' ' '
G# (enharmonic A )
E EE
GE E
' ' ' E'

'
'
9
'
E
'
'
' ' ' '
E EE ' E' !' ' ' '

' ' E'
GE E
3
9'2 '3
1
3 2
4
!' ' ' ' '

'
1
W13
4
1
2
3
'
9
'
E
'
'
'''
EE E
G E EE ' ' ' ' ' E' 9' '
32 1 4 3 2 1 3 2 1
D#
3
' E 2' ! 1' 4' 3 2 1 3 2 1 4 3 2 1 3
E
''''
E E
E' !' ' ' '
G E EE
''
3
2
3
1
2 3 4 1 2
1 2 3 4 1 3
2 3
4
1
! '2 '3
!
'
'
'
'
!' ' '
' ' ' !'
2 1
(3)

G ' '
' 2' 1' 4' 3' 2 1 3 2 1 4 3 2 1 3

' ' ' ' '

''''
G
'
3
1 2 3 4 1 3
2
3
1
2 3 4 1 2
3
W14
3
B (enharmonic A#)

G
' ' ' !' ! '

'
'
!
'
!
'
'
' ' ''
3 1 4 3 2 1 3 2 1 4 3 2 1 3
1
'4
2
' 3' 2' 1' 3 2 1 4 3 2 1 3 2 1 3

' ' ' ' '
G
' ' ' '
' '
3
2
3 4 1 2 3 1 2
3
4 1 2 3 1
4
1
2
3 4
'
!
'
!
'
'
'''
(3)

G
!' !' '

'
'
'
'
'
4 3 2 1 4 3 2 1 3
' ' ' ' '

' ' ' '
G
1
3
(3
2
1)
' ' ' ' '

'
4
1
2
3 (4 5
W15
(1
2

G
2
3
3)
4 1
''
!' ' ' '
!
'
'
'
'
''
1 4
2
3
(4
1
5)
2
12
3
2
2
1
!' !' '
4
5 4 3 2 1 3 2 1 4 3 2 1 3
' ' ' ' '

' ' ' '
' ' ' '
G
3
2
2
(1

G
4
3)
5 4 3 2 1 4 3 2 1
' !' ' ' ' '
' ' !'
G
3
2
4
3
''
(4
5)
!' E' '

'''''
1
!' E'
' ' ''
'
3 1 4 3 2 1 3 2
12
4 (5)
3
12

2
3
1
2
' ' ' ' '

'
4
(4
5)
W16
5
' !' E' '
'
'
'
G ' ' ' ' ' !' E' '
3 2
3 2 1 3 2
1
4 3 2 1 3 2
1
3 1
5 1 4 3 2 1 3 2 1 4 3 2 1 3 2
' !' ' ' '
' ' ' !' '
''''
G
'
2
3
4
1
2 3 1 2
3
4
1 2 3 4 5
1 2 3
W17
MAJOR and MINOR ARPEGGIOS

C
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
(3
1)
(5)
' '
' '
' '
'
G
'
' '
'
'
'
1)
4
2
1
2
4
' ' ' '

'
' '
G ' ' ' '
' '
(1
2
3)
4
(1
(5)
(3)
4
(3)
(3)
4
(3)
C#
E'
G E ' E' E' E'
!'
G
E' E'
!
'
E'
(3)
4
(3)
E' E ' E' E'

E' E'
E' E '
(3)
4
(3)
E' E ' E' !'

E' E'
!' E '
W1
' '
E' '
E' '
'
' E' '
G ' E' '
(1
2
3)
4
(5)
(3
4
1)
2
1
(5)
(5)
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
' '
!' '
!' '
'
' !' '
G ' !' '
(3)
4
(3)
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
2
4
1
2
4
1
2
4
'
' '

'
G ' '
G ' '
(5)
(3)
4
1
' '
' '
(3)
4
(3)
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
' '
' '
' ' '
' '
' '
' ' '
W2
(1
2
3)
4
(5)
(3
4
1)
2
1
(5)
(5)
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
1
(1
(3)
2
3)
1
2
(3
1
1
1)
(3)
' ' ' E'

E
'
'
' '
G ' E' '
E' '
' '
' '
' '
'
'
' ' '
G ' '
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
' '
' '
' '
'
'
' ' '
'
'
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
' 1' 4 2 1 4 2
'
'
' '
G
' '
' '

'
'
'
(1
2
3)
4
(5)
(5)
(3
1)
(5)
W3
(F#)
G
1
(1
(3)
2
3)
1
' '
(5)
(3)
4
1
3
1
2
1
2
4
2
4
1
'
' '
2
4
1
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
' ' ' '

2
4
1
2
2
4
4
1
1
2
4
3
1
2
' '
1
2
2
4
2
(3
1
1
1)
(3)
' '
4
1
(5)
(3)
F#
(3) 1
E'
E' ' E'
E'
' E' E' '
E' E '
(3)
' E'
(3)
(3)
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
' '
' '
' '
'
'
' '
' '
'
2
' '
'
' '
G
' '
'
' '
' '
'
(1
2
3)
4
(5)
(3
4
1)
(5)
(5)
W4
' '

'
'
' '
G
' '
' '
'
'
'
(3)
(3)
(3)
(3)
(A )
G#
E' E' E' '

'
G
E'
E' E'
' E'
E ' ' E'
(3)
(3)
(3)
(3)
A
(1
2
3)
4
(5)
(3
4
1)
2
1
(5)
(5)
1
(1
(3)
2
3)
1
3
1
2
1
2
4
2
4
1
3
1
2
(5)
(5)
4
3
1
2
2
4
1
1
2
4
3
1
2
2
(3
1
1
1)
(3)
(5)
(3)
4
1
2
4
1
2
4
1
2
4
1
2
2
4
4
1
1
2
2
4
4
1
(5)
(3)
' ' ' E' '

E
'
'
G
' E' '
' E' '
' '
'
!
'
!' '
'
G
'
' !' '
!
'
'
W5
2
1
4
2
1
4
2

'
'
' '
' '
' '
G
'
' '
' '
(3)
4
4
3
4
3
(3)
(3)
4
3
4
3
(A#)
' '
' '
' '

'
G
'
' '
' '
'
2
4
3
4
3
(3)
4
3
4
3
3
4
3
4
(5)
3
4
3
4
(5)
(5)
'
E' E' E' E' '
'
G
E' E' '
' E' E'
3
4
3
4
(5)
3
4
3
4
(5)
(3)
(3)
E' ' E' '

'
'
' E'
G
' '
' ' E'
W6
DIMINISHED ARPEGGIOS
C
2
3
(5)
3
2
1
3
2
1
' ' ' '

'
' '
G ' ' ' '
' '
1
(5)
(5)
C#
E 4' 2' 1 4 2 1 (3)

'
'
' E'
G
' E'
' '
'
E'
E'
(3)
1
3
(5)
3
2
1
3
2
' ' ' '
'
'
' '
G ' ' '
' '
2
(3)
(5)
(3)
1
4' 1 1' 4 2 1 4 2
1
'
' '
' '
1' ' '
G ' ' 1'
2
(4)
3
(5)
' 3' 2 1 3 2 1

'
'
' '
'
' '
G ' ' '
'
1
2
(3)
(3)
F
(1
2
3)
4
(5)
(3
4
1)
2
1
(5)
(5)
'
' ' ' ' '
G
'
'
' '
' '
'
W7
F#
E4' 2' 1 4 2 1 (3)

'
' E'
G
E' '
'
' ' E'
'
E'
(3)
' ' ' '

'
G
'
' '
' '
' ' '
(5)
1
(5)
1
(5)
(3)
(3)
' '
3
1'
'
' ' 1' 1' ' '
4
1' '
1
'
3
3 (5)
' 3' 2 1 3 2 1

'
'
' '
G
' '
' '
'
'
'
2
(3)
(5)
(3)
' '
' '
' '

'
G ' '
' '
'
'
(4)
3
(4)
B
1
(5)
(1
3)
(5)
(3
1)
(3)
2
(3)
1
(5)
(3)
(5)
4
' 2' 1 4 2 1 (3)
'
'
' '
G
' '
' '
'
'
'
W8
AUGMENTED ARPEGGIOS
4
4
2
1
4
2
1
(5)
E' ' E' '
'
' E'
E' '
' '
' '
(3)
(5)
C#
E ' 9'
9
'
E
'
E' E'
G E' 9' E'
9' E'
E'
E'
(3)
(3)
(3)
' E'
E' E '
E' '
'
E' E'
G ' E' E'
'
(5)
1
(5)
1
(5)
' '
' '
' '

'
' ' '
G ' ' '
(3)
(3)
(3)
E
(1
3)
(5)
(3)
1
(5)
1
(5)
' E'
E' E '
E' '
'
E
'
E' E' '
G ' E'
4 (5)
' E4' 2 1 4 2 1
E
'
'
' '
G
'
E
'
E' ' '
' '
1
(3
1)
(5)
(3)
W9
F#
E' 9'
9
'
E
'
E' E'
G
E'
9
'
9' E' E'
E
'
E'
2
(3)
(3)
4 (5)
' E4' 2 1 4 2 1
E
'
' '
G
' '
E
'
E' ' '
'
'
(3
4
2
1
4
2
4
1
2
4
1
(5)
1)
1
(3)
' '
' '
' '

'
G
'
' ' '
'
'
(3)
(3)
(3)
(1
3)
(5)
(3)
1
(5)
1
(5)
E' ' E' E' '

E
'
'
G
E'
E' E '
' E'
'
B
E' ' E' '

'

'
' E'
G
E'
'
' '
'
(3)
(3)
(3)
B
(1
3)
(5)
(3)
1
(5)
(5)
'
E' 9' 9' E' '
'
G E' 9'
9' E'
'
'
W10
DIMINISHED SEVENTH ARPEGGIOS
C
(1
(1
2
2 3)
2) 4
3 4
1 2
(5)
2 1
1 '1 ' 1 '1 '4 3 2 1 4 2

'
'
''1'
G ' ''1''
'' '
3
(5)
(3)
(2 1)
3
4 1
4 1
(5)
C#
(3)
1 2
G E ' ' ' ' E'

3 2 1
(4)
E'
''' ' ''
4 1 2
3 2 1
(2)
2 1
3 2 1
E' ' '

3
(3)
'E'
4 1 2
3
(4)
(3 2 1)
(2 1)
4 3 2
' ' ' ' ' ''

'
'
' ' '
G ' ' ' '
'
(1 2
3)
1 2 3
(5)
(3)
2 1
(3)
3 2 1
3
(2
2
1
(2 4)
3 4
(2)
3
(3)
3 2
3
2)
1 2
4 1 (5)
(3)
1 ' '1 '1 '

1
'

'
''1'
'
1'''
G ''1'1'
3
W11
E
1 2
' ' ' ' ' '

'
' ' '
' ' '
4 1 2
G ''
(3) 1
3 2 1
3
(2
(5)
2
1
3
2)
2 1
1 2
3 2 1
''
4 1 (3)
F
4 2
2 1 4 3
2 1
1' '1''

'
'
''1'
G
' 1''
''

'
'
'
(2)
2 3
2 3
1
(5)
2 1
2 1
(3 1)
4 1
1
(5)
F#
(3)
E' '
3
(4)
' ' E' ' ' ' E'

'
E
'
' '
' '
4 1 2
3 2 1
3 2 1
4 1 2
(3)
' E'
2
3
(4)
(2 1)
3 2
' '
G
(1
2)
G ' ' '

1
(5)
1 2
' '
2 1
'
' ' ' ' ' '
3
(5)
1 (3)
3 2
' ' '
4 1
4 1
(5)
W12
G#
(3)
' ' E' ' ' ' E'

'
E
'
''
''
E' '
4
(3) 1
' E'
(3)
A
1
4 1
'
' ' E' E' ' '
2
'
E'
' ' '
(3)
3 2
4 (5)
3 2
(2 1
3
2)
3 2 1
' E' '

2
''
(5)
(3)
'1 ' '1 ' '''

'

'
1''
G ''1'
' '
'
(2)
(2)
3
(3)
' ' ' ' ' '

'
' ' '
G ' ' ' '
''
'
1
(5)
3
(5
2 1
3 1)
4
(3
3
1
4
3)
2 3
(3 5)
W13
OTHER SEVENTH CHORD ARPEGGIOS
C M7
(5)
1 4
4 3
(3)
'
'''
1
(3)
' ' ' ' ''

'''
''
2
(5
''
3)
4
(3
3
2
4
3)
3 4 (1 3
5)
1 2
C D7
4 (5)
' '4 '3 2 1 4 3 2 1

'
'
'
' ' '
G ' ' ' '
''
'
'
1
(5 3)
4
(3
(3
3
2
1
4
3)
3)
1 (3 5)
C m7
O7
2 3
(1
3) 1
'
' '
4 1
2 3
(5)
2 1
4 3
2 3
4 1
(3
3)
4 3
2 1
(3
1)
''
' ' '
' ' '
' ' '
' '
'
(5
3) 1
4 3
2 1
4
(3
(3
3
2
1
4
3)
3)
2 3
4 1
(3
5)
(5)
4 3
2 1
4 3
4 1
2 3
(5)
2 1
G ' '
(5)
4 1
'
' ' '
3
2 1
4 (5)
' ' ' ' ' '

3
' ' '
4 1
' '
4 (5)
W14
C# M7
2
(3)
E'E ' E ' E ' E'E'

E
'
E'E'E'
G E'E'E'E'
E'E '
E'
(3)
(3)
(3)
(3)
(3)
2 1
4 3
(3)
(3)
C# D7
2
4 1
(3)
2 3
E'
G E ' E' E'' E'
E' ' E ' ' E' E'

2
E'' E'
E' E '
2 1
(3)
4 1
(3)
4 3
2 3
(3)
4 3
2 1
4 3
(3)
C# m7
3
4 1
2 3
(3) 1
2 3
4 1
2 1
4 3
(3) 1
4 3
2 1
E'
4
C#
2 1
4 3
2 1
(3)
2 3
4 1
2 3
4 1
2 3
4 1
(3)
E'
' E' '
E
'
'
O7
' E ' ' E'

' E' '
E'
(3)
'E'
' E' ' '

'
'
' E' '
G E ' ' ' ' E'
' ' E'
(3) 1
(3)
(3)
W15
D M7
(1
1
3) 1
2 3
G ' E'
2 3
4 1
4
2
1
3
(3
2
4
E' ' E '

'
E
'
'
5
3
(5)
3)
2
4
1
3
4 3
2 1
2 1
4 3
(3 1)
2 1
' E' '

E' ' E'
'
(5)
4 3
2 1
4 1
2 3
E' '
(5
(1
3) 1
3)
4 3
4
(3
(3
3
2
1
4
3)
3)
2 3
4 1
(3 5)
' ' ' ' ' E' '

E
'
'
''
''
(3 1)
(4 2)
E' '
D D7
(1
(2)
3)
4 1
G ' E'
(5)
(3
2
4
3
3)
2
4 (5)
4 (5)
D m7
2
(5)
(3) 1
(3)
G ''
'
'''
(5 3)
(3 5)
4
3)
2
3
2
1
4
(3
2
3)
4 1
O7
(1 2
2 3
G ''
(5) 1
(3)
'
' ' '
3
' ' ' ' ''

'''
''
5
' ' ' ' ' '

' ' '
''
4
(3)
(3 2 1)
4 3 2
3
(2
2
1
3
2)
1 (5)
W16
E M7
(3 1
2 3
(3) 1
3)
4 1
2 3
G ' ' '
2 3
4 1
4
2
1
3
(3)
4
1
3
4
2
3
1
2 1
4 3
4 3
2 1
'
' ' '
' ' ' '

' ' '
'
2
(3)
' '
4 3
2 1
4 3
(3)
4 1
2 3
(3) 1
4 3
2 1
2 3
4 1
(3)
E D7
(3) 1
G ' ' '

(3) 1
'
' ' '
3
4 1
2 1
3' '4 '3 2' 1 4 3

' ' '
3
4 1
2 1 (3)
' '
'
4 1 (3)
E m7
' ' 2' 1 4 3 2 1

'

'
'''
''
'''
G ''''
(3) 1
(5 3)
4
(3
3
2
4
3)
O7
(2)
(3)
(3 5)
1 ' ' ' ' 1 ' '

'

'
''1'
G ''1''
''
(2) 4
1 (4 2)
(4 2)
(5 3)
4
(3
3
2
4
3)
1 (2 4)
W17
E M7
3)
4 1
2 3
2 3
4 1
4
2
1
3
(5)
4 3
2 1
(1
3 1)
4 3
(1
(2)
1
E' '
'
E
'
G ' E' '
(3
2
4
5
3
(5)
(3)
2
4
1
3
4 3
2 1
2 1
4 3
4 1
2 3
4 (5)
4
(3
(1
3
2
3
4
3)
1)
2 3
4 1
(3 5)
(3 1)
4 (2)
2 1
E ' ' E ' ' E'

' E' '
E' '
E D7
3
2 1
4 (2)
4 3 2 1
' ' ' '
'
E' ' '
' E'
' E'
G ' E' ' '
'
(1
(2)
3)
4 1
(3
2
3)
(5)
(3 1)
4 (5)
E m7
1 2
(3) 1
3
2
4
3
1
4
2
1
3
2
4
3
(5)
4
(5 3)
4
(3
3
2
4
3)
(3 5)
' ' 3' 2' 1 4 3 2 1 (3)

'
'''
'''
''
G '''
'
O7
(4 2
1)
' '1 4' 3 2 1 4 3 2

'

'
'''
''
' ' '
G ' ' ' '
(1 2
2 3
3)
4 1
(3)
(5 1)
(3 1)
3
(2
2
1
3
2)
1 (3)
W18
F M7
(3)
4 (5) 4
''''''
''
'
'
' '
(5
3)
4
(3
2
3 4
2 3)
1 2
2
1
1
(3)
'' '
' '
(3
5)
F D7
1
' '
' ' '
(5
3)
'
2
' ' ' ' '

4 (5)
4 3
(3 2
(3 1
4 1
3)
3)
' ' '

2
' ' '
(3
5)
2 1
4 3
2
3
4
1
1
(2)
F m7
1
(1
(2)
2
3)
4
4 1
2 3
2 3
4 1
' ' '

' '
'
' ' ' ' '
(5
3)
4 3
2 1
(5)
2 1
4 3
4 1
O
4 (5) 4 3
(3 5 3)
2 3 2 1
4
(3
(3
2
3
2
1
1
4 1
3)
3)
2 3
' ' '
' '
'
2 3
(3
5)
4 1
(5)
2 1
(3 1)
F 7
(1
(2)
3)
4
3
1
2 3
' '
' '
'
4 (5)
(3 5
2 3
3)
2
'
' ' ' ' ' '
4
(5
3)
4 3
(5)
2 1
4
(3
(3
2
3
2
1
1
4
3)
3)
2
4 3
' ' '
2 3
4 1
' '
(3 5)
4
5
(1)
W19
F# M7
(1
2
2
3
3)
4
1 (3) 1
1 (3) 1
2
3
3)
4 1
4 1
(3) 1
2 1
2 1
2 1
(3) 1
4 1
E'
4 1
(3) 1
4 3
2 1
(3
4
1
3
3)
2
4 3
(3)
E'E'E'E'E'E'
E
'
G
E
'
E'E'E '
E'
E
'
E
'
E 'E '
E'
F# D7
(1
2
E'
4
'E' 'E'
E
'
E
'
E' E''
E'
E' E'
E' E' '
F# m7
F#
(3
2
1
3
3)
4 1
2 3
(3)
4 1
E' ' E'

(4)
2 1
4 3
4 3
2 1
O7
' E'
E'
' E' ' ' E' '
2 3
(3)
E' '
4
2 1
E' ' E '
4 1
2 3
(4)
(3) 1
2 3
4 1
(3)
' ' E' ' ' ' E'

'
E
'
''
''
' E'
(3) 1
' E'
W20
G M7
(3)
(4
4 (5)
' E'
' '
4) 2
(3)
4 (2
3)
E' ' E' '

''
'''
4
3)
3)
4 3
(3 2
(3 1
4 (5) 4
(3)
' '
''
'
'
'
(5
3)
3)
4
(1
(5
4 1
3)
3)
E' '
4
' '
(3
5)
''''
1
(3)
(2)
4
(3
3 4
2 3)
(3
5)
(3
4
1)
(2)
G D7
3
2
'''
''
'
G m7
(1
(2)
'''
' '
'
(3 4 3)
2 3 2 1
' '
'
2 3
(5)
(5
3)
4 3 4 1
(3 2 3)
(3
5)
(1
2
2)
3
' '
(5)
' ' ' '

'

'
' '
'
4
4 1 2
' '
' ' '
(5)
O7
'''''
3 2 1
4 1 (3) 1
3 2 1 2
2 1
' '
4 1 2
(2
1)
' '
4
1
(5)
W21
A M7
4 1
2 3
(3)
2 3
4 1
' '
'
' ' '
(3) 1
4 3
' ' ' ' ' '

2
(3
1)
4 3
2 1
2 1
4 3
4 1
2 1
(3)
' ' '
' '
4 1
(3)
(3) 1
2 3
A D7
(3) 1
'
' '
(3)
' ' '

3
' ' ' ' '

2
1 4
2 1
' ' '
4 1
2 1
(3)
' '
4 1
'
(3)
A m7
'' ' '''

'

'
'''
G ' ''
''
'
(3)
(3)
(3)
(3)
O7
(3)
'
3
' ' '1''

1
'

'
''1'
''
' 1'
'
1
(3)
4
(3
3
2
4
3)
'
W22
A M7
4 1
2 3
(1
3)
2 3
4 1
' E'
E'
' E' '
4 (5)
(3 5
2 3
4 3
3)
2 1
2 1
2 1
2 1
(3 1)
4 (2)
2 3
4 1
E' '
4 1
2 3
' E' ' E' ' E'

4 3
(3 2
(3 1
2 1
4 3
4 3
4 1
3)
3)
2 3
' E' '
(1
(5
3)
3)
4 3
2 1
(3
5)
1
(5)
2 1
4 3
(5)
(1
(2)
3)
4
(3
2
4
3
3)
2 1
(3
4
1)
(2)
2 3
(5)
(3)
A D7
' E'
(5)
A m7
E' '
'
'
'
(3)
'
' ''
' ' ' ' E'

'''
E' '
(5)
' ' ''

''
'''
1
''
' '
(5
3)
4
(3
3
2
4
3)
(3
5)
2
3
3)
4 1
(2
1)
O7
(1
2
' '
' '
(5)
(3)
'
2
'
' ' ' ' ' '
1 (3)
3
(2
2
1
3
2)
' ' '

2
' '
(5)
(3)
W23
B M7
' ' ' ' ' '

'

'
' ' '
G '''
' '
'
(3)
4
(4)
3
2
2
1
3
2
1
4
4
3
4 1 2
2
1
1
4
(3
(3)
3
2
1
4
3)
2
1
3
2
4
3
1
4
2
1
(3)
(3)
4
(4)
3
2
D7
(3) 1 2
'
' ''
(4) 2 1
' '
'' ' ' '
3 2 1
4
(3
3
2
4
3)
3 2
' ' '

2
(3)
' ''
4 1 2
(4)
2 1
(2)
m7
(2)
4 1
' '
' '
(4)
2 1
'
3
'
' ' ' ' ' '
4 1
2 1
O7
(3
2
4
(3
4
3
3
2
3)
2 1
4
3)
' ' '

3
4 1
' '
2
(4)
3
2

'

'

' ''
''
'''
G ''''
' '
'
(2)
(3
2
3)
(4)
4
(3
3
2
4
3)
(2)
(4)
W24
B M7
E ' ' E ' E'

E
'
E
'
E' ' E'
G E' E' E' '
E' E'
'
'
1
4 1
(5)
2 1
2 1
1
(5)
2 1
4 1
4 (5)
B D7
1
2 1
'
'
'
E'
E' E'
' ' E'
G E' E' ' ' E'
E' '
'
(1
2)
4 1 2
(3)
1
(5)
3 2 1
1 2
(2 1)
4 (5)
B m7
4 (2 1)
' ' ' E' '

E
'
'
' ' E'
G ' E' ' '
''
'
(1 2)
(3)
(3 1
(5)
4
(3
3
2
2
1
3
2
4 1
3)
1 (5)
2
1
3
2
4
3
1
4
2
1
3
2
4
3
(5)
4
4
3
3
2
1
4
3
2
2
1
''
O7
1
(3)
'
'''
2
1
4
3
' ' ''

'''
'
3)
1
(3)
' ''
(5
3)
4
(3
3
2
4
3)
(3
5)
W25
A P P ENDI X 4:
HI S TORI C A L F INGERI N GS
F OR T HE C HRO MAT IC SC A LE
FRENC H
The fingering is consistent throughout each octave extension and fingers synchronize
in both hands.
1
GERM A N (MIXE D )
Even contrariwise this pattern is inconsistent, with no discernible rationale. There is
very little benefit of synchronization and no physiological or strategic basis for the
LH use of the second on the black keys.
1
LESC HETI Z KYS

Although similar to the German (Mixed) fingering, it is wholly consistent in its employment of the second finger for the scale RH ascending and LH descending, and the third
finger for the LH ascending and RH descending. The assignment of second and third
is significant,1 but it does not coordinate well hands together in parallel motion.
1
The sequence 1-2/1-2-3 (WB/WWB) is, presumably, considered more efficient in that
there is less distance for the thumb to pass under the hand (WB) and less movement
of the hand as the second traverses the ensuing whole-step distance (WWB). But the
third is the better pivot, both ascending and descending, and the upper armand
thereby the lower arm and handis more easily and reliably stabilized.
One need only alternately play this fingering and the French fingering several
times to be convinced of the greater efficacy of the latter. The use of the first and third
fingers should be considered fundamental since the longest finger is on the short
black key and the shortest is on the long white. The French sequence is now held
by most to be the basic fingering for the chromatic scale. This pattern is the least
complex, most topographically correct, and physiologically most conducive to light,
speedy executions as well as tonal brilliance.
E N GL I S H
It is considered to be faster, lighter, and more agile than the others because the thumb
is called upon less. But this depends on the specific technical approach; it is not built
in, so to speak.
1
The pattern is made up of groups of 1-3, 1-2-3, and 1-2-3-4 that can be applied
consistently throughout an octave. Although it is entirely logical hands separate,
hands together it rarely synchronizes and does not coordinate well. The four-finger
group (WBWB), though balanced in terms of key depth, will most likely be found
awkward, if not impossible, for larger handsespecially at faster tempos, negating
the advantage many ascribe to it.2
TH A L BE RG S
This fingering employs a two-octave sequence of only three- and four-finger groups:
diatonic fingering groups are consistently sequenced chromatically. It is most useful
and would be practiced within the span of two octaves, beginning on D or E.
1
Although the third is more often assigned to the longer white key rather than the
shorter black key, the thumbs coordinate and the finger groups synchronize well.
Irregular, in that the pattern repeats itself every two octaves, this is not a significant
consideration in shorter sequences or less extended passages. But here too, the fourfinger group (BWBW) may not be appealing.
LISZTS
Employing a five-finger group eliminates Thalbergs irregularity and requires the
least number of thumb shifts. Held to be most useful for swift passages requiring
a light, gossamer effect.
1
But this pattern may be applied for greater topographical benefit. The following
RH application is instructive.
1
NO TES
1.
2.
The second finger will be found to best correlate with the upper arms optimal coordination
in movement away from torso, while the third best correlates in movement toward the torso.
This is sensorially demonstrable in any simple movement of the outstretched arm in space.
It is perhaps a little more than interesting that this 1-3/1-2-3/1-2-3-4 sequence corresponds
to the alternative topographical fingerings for E and B harmonic minor, each hand away from
the torso.
A P P ENDI X 5:
DI AT ONIC D OUBL E THI RD
F INGE RI NGS : A N E V O LUTI ON
Henri Herz, an enormously admired and emulated pianist in Chopins and Liszts
day (although not by Chopin himself, as his correspondence attests), advocated this
1-2 fingering except for certain keys.1 For these he prefers a five-finger group and a
13-24/13-24 sequence (seven double thirds: 3+2+2). Nonetheless, Herz provides
both options for all keys. But he specifically admonishes not using the thumb on a
black key when the third falls on a white key and that it is better not to use
the fingering 1-2 in the major keys of C, G, D, F and B-flat. These are the keys with
an abundance of white keys, in which the combination (3+4) as applied would frequently result in the fifth second following the second fifth (RH ascending and LH
descending on two successive white keysan extremely awkward and unsatisfying
solution).
Herzs approach is most interesting and unique in the relative consistency with
which the fifth on a white key is succeeded by the second finger on a black key
certainly far more comfortable and effective. Black fifth to black second occurs only
in the enharmonic keys. Although white keys are at a minimum, a not-insignificant
distinction, black to black nonetheless represents only a difference of plane.
Nonetheless, there is welcome consistency.
1
F#/G Major
3
5
3
1
4
2
3
1
4
2
5
3
3
1
4
2
5
3
2
1
3
1
4
2
2
4
1
3
3
5
2
4
1
3
1
2
2
4
1
3
2
4
1
3
3
1
2
1
4
2
3
1
3
1
4
2
4
2
5
3
3
1
4
2
3
5
2
4
1
3
1
2
3
5
2
4
1
3
3
5
2
4
1
3
2
4
1
3
2
4
1
3
E /D# hm
5
3
The melodic minor scales ascending, C-sharp and E-flat/D-sharp, are likewise
consistent in the assignment of fingers to the black keys. The descending fingerings,
those of the relative major, are also consistent.
3
3
1
5
3
4
2
3
1
3
5
2 1
4 3
C#/D mm
3
5
2
4
2
1
3
1
4
2
2
4
1
3
1
3
2
4
1
2
1
3
3
1
4
2
4
2
3
1
2
1
5
3
4
2
3
1
5
3
1
3
2
4
3
5
1
2
1
3
1
3
2
4
2
4
1
3
3
5
2
4
4
2
5
3
4
2
3
1
4
2
2
1
E /D# mm
3
5
3
5
5
3
3
1
4
2
5
3
3
1
4 3
2 1
2
1
3
1
4
2
5
3
3
1
4 5
2 3
2
4
2
4
1
3
1
3
1
2
2
4
3
5
1
3
2
4
2
4
1
3
1
3
3
1
5
3
5
3
4
2
4
2
3
1
3
1
4
2
2
1
3
1
4
2
1
3
1
3
2
4
2
4
3
5
1
3
1
2
2
4
1
3
1
3
2
4
2
4
3
5
3
5
4
2
3
1
Liszts solution was to assign a sequence of one five-finger/note group and two
successive groups of 1-3/2-4 (3+2+2) for all diatonic double note scales, fingering
unchanged ascending and descending. The fifth finger was thus used only once per
octave, the determinant five-finger group (3) varying from scale to scale. However,
closer scrutiny of Liszts fingering2 does reveal a great many consistenciesbut
significant inconsistencies as well. Like Herz, Liszt includes the melodic as well as the
harmonic minor scales in his presentation of double note fingerings. Others simply
avoided the challenge or perhaps agreed with Josef Hofmann, who considered it
necessary to practice only one minor scale: the harmonic, as the melodic form offers
no new intervals to your fingers.3 But the consistencies, such as they are, give only
small comfort.
What is most noteworthy about Liszts consistency is his treatment of the
enharmonic major-minor keys. But Chopins Fundamental Pattern exerts no primary
influence whatsoeverexcept for C-sharp minor! Liszt has instead chosen the symmetrical, mutually inverted topographies of A-sharp/B-flat minor and B/C-flat major
as his determinant five-finger group. A successive four-finger group nonetheless falls
to the first four notes of Chopins patternour WBBB core patternthereby comporting with the single-note fingering for the enharmonic keys.
5
B Major
Herz:
3
1
4
2
5
3
2
1
3
1
3
1
4
2
4
2
3
1
5
3
4
2
Liszt:
3
1
4
2
5
3
3
1
4
2
3
1
4
2
Liszt:
2
4
1
3
2
4
1
3
3
5
2
4
1
3
Herz:
2
4
1
3
2
4
1
3
3
5
2
4
1
3
3
5
2
4
1
3
1
2
6
F# Major
Herz:
Liszt:
2
1
3
1
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
3
1
Liszt:
3
5
2
4
1
3
2
4
1
3
2
4
1
3
Herz:
3
5
2
4
1
3
2
4
1
3
2
4
1
3
3
5
2
4
1
3
1
2
7
C#/D Major
2
1
3
1
3
1
Herz:
Liszt:
3
1
4
2
4
2
4
2
3
1
3
1
5
3
4
2
4
2
3
1
3
1
4 5
2 3
4 5
2 3
Liszt:
2
4
1 2
3 4
1
3
3 2
5 4
1
3
Herz:
2
4
3
5
1
3
2
4
1
3
1
2
3
5
1
3
2
4
1
3
2
4
Liszts fingerings for the enharmonic scales are, in fact, more rational than for
the other keys. Were he to assign all five finger patterns to the Fundamental Pattern,
Liszt would be left with a relatively awkward solution overallif he were to continue
applying his 2+2 sequence for the remaining four double thirds.
We have earlier recognized the unique characteristics of B-flat and B major-minor
as comparative anomalies in regard to topography and finger assignment. Liszts
fingerings for these are not only interesting but instructive in this regard.
8a
B Major
3
1
4
2
5
3
3
1
4
2
3
1
4
2
2
4
1
3
2
4
1
3
3
5
2
4
4
2
8b
B hm
3
5
3
1
4
2
5
3
3
1
4
2
3
1
2
4
1
3
2
4
1
3
2
4
1
3
1
3
9a
B Major
3
1
4
2
5
3
3
1
4
2
3
1
4
2
3
5
2
4
1
3
2
4
1
3
2
4
1
3
9b
B hm
3
1
4
2
5
3
3
1
4
2
3
1
4
2
2
4
1
3
2
4
1
3
3
5
2
4
1
3
Leschetizkys fingerings4 comport only in part with those of Liszt: he advocates

the same finger sequence but often differs in the placement of the five-finger group.
Though these have the advantage of greater simplicity in their organizational consistency, they likewise do not take topography into serious account. But more significant is Leschetizkys treatment of the enharmonic major keys: in the LH one does
consistently encounter Chopins Fundamental Pattern employed and altered as a
core five-finger pattern, but for the RH it is found only for F-sharp. Consequently,
Leschetizkys are more satisfactory overall. Of course, if executed tonic to tonic, all
require decisions as to initiating and terminating (closing) patterns because of the
placement of the five-finger determinant group. Unlike Liszt, he does not give fingerings for the melodic minor form.
Franklin Taylors fingerings are also not wholly in agreement with Liszts,
although they employ the same finger sequence. But like Herz he does recommend as
an option the fingering largely in use today, in some keys decidedly easier, the
sequence 12-13-24-35/13-24-35 (4+3 or 3+4). Taylors caveats regarding fingering
are most instructive, among them The thumb is not to be used on a black key
unnecessarily and Do not change the position of the hand unnecessarily. However,
it is noteworthy that this recommended sequence necessitates the crossing of the
fifth finger by the second (4+3+4, etc.). Although not in the context of double third
fingerings, he strongly admonishes against such a crossing in his later treatise.5
From a topographical perspective, Isadore Philipps LH fingerings are negatively
affected by the assignment of the five fingers, in which considerations of keyboard
symmetry have clearly played no role. Philipp also adheres to the commonly held
principle that the fifth should be used only once each octave. That neither he
nor Liszt systematically based their fingerings on topographical considerations is
further evident in their agreement and disagreement as well as consistencies and
inconsistencies.
Certain of these are typical and particularly worthy of note. In the following, the
assignment of the pattern is such that the thumb avoids a black key.
10
A hm
3
1
3
1
Philipp:
Liszt:
4
2
4
2
3
1
5
3
Liszt:
1
3
2
4
Philipp:
2
4
4
2
3
1
3
1
4
2
4
2
3
1
5
3
4
2
3
5
2
4
1
3
2
4
1
3
3
5
2
4
1
3
1
3
2
4
1
3
11
D hm
Philipp:
as per Liszt
Liszt:
3
1
4
2
3
1
4
2
3
1
4
2
5
3
Liszt:
3
5
2
4
1
3
3
5
2
4
1
3
2
4
Philipp:
1
3
2
4
1
3
as per Liszt
Even though certain considerations of keyboard symmetry frequently inform

Schmitzs conclusions generally, his fingering approach also evinces little or no awareness of that intervallic and topographical symmetry of all the major keys noted
herein. And several predilections obscured and limited his ability to arrive at satisfactory topographical solutions, determined though he was. Chief among these was an
insistence on assigning the longest third finger to any single black-key pivot and a
basic reluctance to assign the fifth to black keys (although physiologically well-suited)
unless unavoidable. Focusing on complementing finger and key length to the degree
that he did, Schmitz overlooked other aspects of the hands prehensile potential as it
relates to physiologically sound fingering choices vis--vis the keyboards topography.6
More remarkably, and incredibly as noted before, Schmitz reformulates Chopins
own Fundamental Pattern for the LH to one that is no longer symmetrical to the RH.
Even while acknowledging Chopins pattern, his efforts therefore fail to provide a
far-reaching rational basis for allying fingering to topography.
Consequently, his approach to double third scale fingerings is substantially
inconsistent, basically unsystematic, and often even erraticalthough in some very
important respects liberating. Fingerings are sometimes altered ascending and
descending, but they are altered infrequently and insignificantly. Though quite the
iconoclast and always rational, he was still unable to arrive at an ordering of double
third fingerings that is topographically unified, thoroughly sound physiologically,
and appealing in its coherence and application. It would be quite a stretch, for example, to identify any defining influence of Chopins Fundamental Pattern even in the
fingerings for the enharmonic scales.
Matthays fingerings are essentially those characterized by Cortot as usual.
That is, double thirds are grouped in a sequence of 3+4 or 4+3, but with the distinct
disadvantage of the second finger succeeding the fifth in movement away from the
torso. For all major keys up to four flats and sharps, the thumb is assigned exclusively
to a white key, and fingering is simply reversed in the opposite direction. Though C,
G and F are consistent in application of pattern, fingerings are symmetrically applied
for those major scales with two or more black keys. But most noteworthy: for the
enharmonic keys Matthay has no hesitation in prescribing a fingering change for a
directional change. And for these, the three-group (three consecutive double thirds)
does comport with Chopins Fundamental Pattern for the RH ascending and LH
descending.
NO TES
1.
2.
3.
4.
5.
6.
Henri Herz, Collection of Studies, Scales and Passages (Miami: Kalmus/Warner Bros.).
Franz Liszt, Technical Exercises for the Piano, ed. Julio Esteban (New York: Alfred, 1971).
Josef Hofmann, Piano Playing: With Questions Answered (New York: Dover, 1976), 109.
Malwine Bre, The Leschetizky Method: A Guide to Free and Correct Piano Playing (Mineola, NY:
Dover, 1997), 4243.
The crossing of the longer second over the shorter fifth can sometimes be advantageous, and
not particularly awkward for most hands, if it is that of a half step from a white key to a black
key. A larger interval than that, especially from white to white or black to black, is to be
avoided.
Among these, for example, is the fifth fingers range of flexion: its flexibility and movement
range from the base of its metacarpal, which is enhanced by its position as an outermost or
endmost finger. A consideration of the fifth finger and its action solely from knuckle to
fingertipas short and weakis an extremely narrow one that remains prevalent.
MAJOR SECONDS
4
1
5
2
4
1
5
1
4
3
3
2
1
5
1
4
2
5
1
4
2
3
5
1
3
2
1
5
2
3
3
4
' ! ' E '

'' '' !E'' !'' ' ! ' E '
4
1
5
2
4
1
1
5
1
4
2
5
3
2
4
1
1
4
2
3
1
5
!'' EE'' !!''
'' '' !E''
5
1
MINOR THIRDS
5
1
4
2
5
1
3
1
5
4
2
1
5
2
4
1
5
2
4
1
3
1
'

'
!
'

'
!
'
'
''!' 'E'
G '
' E!'
''
' E!'
' '
' !!'
' '
' '
3
1
4
2
5
1
4
2
5
1
3
1
4
2
2
4
5
1
3
1
5
2
4
1
5
2
4
1
3
1
(2)
MAJOR THIRDS
2
1
'
E
'
'
' !E'
' ' ' ! '
' !E'
' '
G E'
' '
' EE'
''
' !E'
''
' '
4
1
5
2
4
1
5
1
3
2
4
1
5
2
4
1
5
2
3
1
4
1
2
5
1
4
2
5
1
4
2
3
1
5
1
4
2
5
1
4
2
5
1
4
1
3
2
5
W1
PERFECT FOURTHS
5
1
4
2
5
1
3
1
4
2
5
1
4
2
5
1
4
3
2
4
1
5
1
4
2
1
5
2
4
1
5
2
4
1
3
1
5
2
4
1
5
2
4
1
5
1
4
2
3
4
1
5
1
'
'
E
'

'
!
'
!
'

'
'
'
'
E
'
' ' !' ' ! ' ' ! '
G '
' ' 'E' '
' EE'
DIMINISHED FIFTHS
4
1
5
2
4
3
1
5
4
1
5
2
4
1
5
2
4
3
1
5
4
2
5
1
4
1
5
2
4
1
2
5
1
4
2
5
1
4
5
1
3
4
2
5
1
4
2
5
1
4
1
5
2
4
5
1
3
4
2
5
5
1
4
1
5
2
4
1
5
1
4
2
5
1
1
5
1
4
2
5
1
4
1
3
1
5
1
5
2
4
'
E' E!'
!' !'
' !' '
'
'
'
'
'
'
E
'

!

!
'
'
'
E
'
G ' E ' ' E ' E' ' E '
PERFECT FIFTHS
5
1
4
2
3
1
5
2
4
1
5
1
4
2
5
1
4
2
3
1
1
5
2
4
1
5
1
4
1
3
1
5
2
4
2
5
2
4
'
E'
' E' '
'
'
'
E
'
'
E
'
E
'
'
'

'
!
'
'
E
'
'
E
'
G '
E
'
'
'
'E'
W2
MINOR SIXTHS
4
1
3
1
5
2
4
1
5
1
4
1
5
2
2
5
1
4
1
5
1
4
2
5
1
3
1
4
4
1
3
1
5
2
4
1
5
1
2
5
1
4
1
5
4
1
4
2
'1

'
'
!
'
'
E
'

'
!
'
!' ' ' !'
' ' E' '
G '
'E' ' 'E' 'E' 'E '
2
4
1
4
5
1
4
1
5
2
(5)
1
5
1
4
2
5
1
3
1
4
2
5
MAJOR SIXTHS
5
4
1
5
2
4
1
1
5
1
4
1
2
5
5
1
2
5
4
3
1
5
1
5
4
1
5
2
4
1
5
2
4
1
1
4
5
1
5
1
3
4
2
5
1
5
1
4
1
2
5
1
4
1
2
5
5
2
5
1
5
2
5
1
2
5
4
3
1
1
4
5
1
5
1
3
4
2
5
5
4
1
' E' ' E ' '

'
E
'
'
'
'
E
'
'
E
' ! ' ' E' '

'
!
'
G '
'
'
'
E
' ' ! '
1
5
MINOR SEVENTHS
5
2
5
1
4
1
5
1
5
2
5
1
4
1
5
2
1
'
!

'
'
'
E' ' E' ' ' E' '
E' ' ' !' '
G '
'
' E' ' ' E' E' ' E'
5
1
4
1
5
1
1
5
1
4
2
5
1
5
1
5
simile
3
1
4
5
1
5
4
2
5
5
1
5
4
2
5
5
1
5
4
2
5
3
1
4
simile
4
2
5
1
5
W3
MAJOR THIRDS
31
C
3
1
4
2
5
(3)
1
4
2
5
1
4
2
5
1
3
1
4
2
5
1
4
2
5
1
3
1
4
2
5
(3)
1
3
1
4 5
2 1
3
1
4
2
5
1
3
1
4
2
5
1
3
1
4
2
5
3
3
1
4
2
5
3
3
1
4
2
5
3
3
1
4
2
5
3
3
5
2
4
1
3
3
5
2
4
1
3
3
5
2
4
1
3
3
5
2
4
1
3
3
5
2
4
1
3
1
2
3
5
2
4
1
3
1
2
3
5
2
4
1
3
1
2
5
3
4
2
3
1
2
1
4
2
5
3
1
3
1
4
2
5
(3)
1
3
1
4
2
5
3
2
4
1
3
2
4
1
3
'
'
' '
'
' '
'
'
'
'
'
'
'
'
'
'
'
G'
'''
''
''
' '
' '
5
3
4
2
3
1
2
1
5
3
4
2
3
1
2
1
53
3
5
53
4
2
3
1
2
3
2
1 3 2 1 3 2 1 3 2
1
1
'
' '
' '
'
' ' '
' '
''
''
''
''
''
G
''
''
''
' '
'
5
3
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
1
(3)
5
1
3
2
4
1
5
1
3
2
4
1
5
1
3
2
4
1
5
1
(3)
5
1
3
2
4
1
(3)
5
2
4
1
5
2
4
1
5
1
3
2
4
1
5
2
4
1
5
13
2
4
2
4
1
3
5
5
1
5
3
5
1
5
3
5
1
3
1
5
1
5
3
1
3
5
1
5
3
1
2
'
'
'
'
'
'
E
'
'
'
''
'
'
'
'
'
'
G
'
'''
' '
' '
'
' '
' '
35 24 13 12 35 24 13 12 35 24 13 35 24 13 12
24
3
1
4
2
3
1
4
2
4
2
4
2
3
1
4
2
3
2 1 1 3 2 1 3 2 1
1
3
2
1
' '
'
' '
E'
'''
''
''
''
G
''
''
''
' '
' '
' '
' '
'
12 13 24 35 13 24 35 13 24 35 24 13 24 35 24
5
1
1
5
1
5
1
5
1
5
1
5
W1
51
'
' '
' '
' '
'
'
'
'
'
'
'
EE
'
'
'
'
'''
G '
''
''
''
''
3 2 1 1 3 2 1 3 2
3
2
1 2
1
1
5 4 3 2 5 4 3 5 4
5
4
3
4
3
2
12
D
3
1
4
2
5
3
3
1
4
2
5
1
5
3
4
2
3
1
4
2
3
1
5
3
5
1
5
3
4
2
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' ' ' ' ' ' '
' ''
EE ' ' ' '
''
''
''
''
G
''
''
''
'
24 13 24 35 13 24 35 24 13 24 35 13 24 35 24
1
1
12
5
5
51
'
'
'
'
' '
'
'
EEE
'
'
'
'
'
'
'
'
'
'
G ' ' '
''''
' ' ' ''
3
2
1
3 2 1 1 3 2 1 3 2 1
1 2
5
4
3
5 4 3 2 5 4 3 5 4 3
2
4
A
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
5
3
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
' ' ''
EEE ' '
' ''
''
''
''
''
''
G
''
''
''
' '
' '
'
24 13 24 35 24 13 24 35 13 24 35 24 3 24 35
12
W2
51
'
'
'
'
'
'
'
'
'
'
'
'
'
'
EEEE
'
'
'''
''
''
G
''
'
''
''
35 42 13 35 24 13 35 24 13 12 35 24 13 35 24
24 13
E
4
2
3
1
5
3
3
1
4
2
5
3
4
2
3
1
4
2
3
1
5
3
4
2
5
3
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' '
' '
' '
' '
' '
' '
EEEE
''
''
''
''
''
''
G
''
''
'
24 35 13 24 35 13 24 35 24 13 24 35 13 24 35
13 24
EEEE
G E
'
'
'
' '
'
'
'
'
'
'
'
'
'
'
'
'
'
'''
''
'
''
' '
2
1 3 2 1 1 3 2 1 3 2 1
1 3
4
5
3 5 4 3 2 5 4 3 5 4 3
2
(5)
24
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
3
1
5
3
4
2
5
3
4
2
'
'
(5)
1
2
4
1
3

3
2
1 1 3 2 1 3 2 1 1 3 2
1
'
'
'
'
'
'
E
'
'
' ''
E
''
''
''
''
G E EE
''
''
''
''
' '
'
13 24 13 24 35 24 13 24 35 13 24 35 24 13 24
(5)
1
2
5
3
4
(5)
W3
1
2
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
E
E EE
'' '
''
''
''
GE E '
''
''
24 13 35 24 13 35 24 13 12 35 24 13 35 24 13
F#
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
5
3
3
3
2
1
2
1
2
1 1 3 2 1 3 2 1
'
' '
' '
'
' '
' ' '
' '
' '
EEEE E
''
''
''
''
''
E
''
G
''
'
13 24 35 13 24 35 13 24 35 24 13 24 35 13 24
4
C#
31
5
2
3
1
4
3
4
2
1
3
(5)
3
5
2
'
'
'
'
'
' ' '
'
' '
EEEE E
'
''
'
'
'
'
'
E
'
G E '
'''
''
''
''
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
2 1
4 3
1
2
3
5
2
4
1
3
3
5
2
4
1
3
1
2
3
5
2
4
1
3
42 31
2
2
1
3
1 1 3 2 1 3 2 1 1 3 2
'
'
'
'
' ' '
' '
''
EEEE E
''
''
''
''
E
''
G E
''
''
''
''
'
4
1
3
2
4
3
5
1
3
2
4
3
5
2
4
1
3
2
4
3
5
1
3
2
4
3
5
2
4
1
3
(5)
W4
'
'
' '
'
'
''
'
'
'
'

'
'
'

'

'
'
G ' '
'''
'''
' '''
1
1 3
2
2 1 3 2 1 1 3 2 1 3 2
3
2 5
4
4 3 5 4 3 2 5 4 3 5 4
(5)
24 13

G

G

G
4
2
3
1
5
3
3
1
4
2
5
3
4
2
3
1
4
2
3
1
5
3
4
2
5
3
4
2
(5)
1
'
''
''
''
''
''
''
''
''
''
''
''
''
''
''
'
13 24 13 24 35 24 13 24 35 13 24 35 24 13 24
(5)
1
5
3
2
5
3
4
4
2
3
1
2
1
5 4 3 2 5 4
3 2 1 1 3 2
5 4 3
3 2 1
3
1
(5)
4
2
5
3
4
2
4
2
3
1
5
3
3
1
4
2
5
3
3
1
4
2
5
3
4 3
2 1
2 5
1 3
4
2
4
2
5
3
3
1
4
2
5
3
4
2
3
1
'
'
''
'
''
'
'
'
'
'
'
'
'
'
'
'
'''
''
'
''
''
''
24 13 35 24 13 35 24 13 12 35 24 13 35 24 13
4
2
3
1
5
3
4
2
3
1
3
1
'
''
''
''
''
''
''
''
''
''
''
''
''
''
''
'
13 24 35 13 24 35 13 24 35 24 13 24 35 13 24
W5

G
31
4
2
5
3
4
2
3
1
4
2
3
1
5
3
4
2
5
3
4
2
3
1
42 31
1
3
2
1
1 3 2 1 3 2 1 1 3 2
'
' '
'
' '
' ' '
' '
''
''
''
''
''
''
''
''
''
'

G
4
3
4
2
2
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'''
'
''
''
''
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13

G

5
2
3
1
5
2
4
2
3
1
4
2
2 5
1
3
2
4
3
5
1
3
2
4
3
5
2
4
1
3
2
4
3
5
1
3
2
4
3
5
3
1
4
2
5
3
3
1

4
3
5
3
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
2
4
4
2
1
3
(5)
5
3
'
'
'
' '
'
' '
'
'
'
'
'
'
'
'
'
'
'
'
'''
'
' '
' '
' '
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
42
53 42 31 53 42 31 53 42 31 21 53 42 31 53
' ' ' ''
' ' '
'''
''

''
''
G
''
''
''
''
' '
' '
'
2 1
1
2
3 1 2 3 2 1 2 3 1 2 3
4
5
3
4
5 3 4 5 4 3 4 5 3 4 5
3
1
4
2
W6
21
52
3
'

'
'
'
'
''' '
'
'
'
G
'
'
'
'
'
'
'
'
' ' '
'
' '
' '
' '
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
3
1
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
5 4 3 5 4 3 2 5 4 3
5
4
3
2 4
3 2 1 3 2 1 1 3 2 1
3
2
1
1
2
''
'

'
'
'
'
'
'''
G
''
''
''
''
' '
' '
' '
' '
' '
'
1 2 3 1 2 3 2 1 2 3
1
2
3
2 1
3 4 5 3 4 5 4 3 4 5
3
4
5
4
5

G
21
52
3
1
4
2
5
1
3
1
5
3
5
1
5
3
4
2
4
2
3
1
4
2
5
3
5
1
3
1
5
1
5
3
4
2
4
2
'
'
'
'
' '
'
'
'
'
'
'
'
'
'
'
'
'
'
'
'''
''
'
' '
' '
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
5
3
4
2
3
1
2
1
5
3
4
2
3
1
5
3
4
2
3
1
2
1
5
3
4
2
3
1
21
42
'
' '
' '
' '
' '

''
''
''

''
''
G
''
''
''
' '
' '
'
1
2
3
2 3 2 1 2 3 1 2 3
2 1
1
5
3
4
5
4 5 4 3 4 5 3 4 5
4
3
1
3
1
1
1

5
5
5
5
5
W7
42
'
'
'
' '
'
'
'
'
'

'
'
'
'
G
'
'
'
'
' ''
' '
' '
'
' '
' '
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
F
3
1
5
1
5
3
4
2
4
2
5
1
3
1
4
2
5
1
5
3
3
1
4
2
5
1
5
3
4
2
5
1
3
1
4
2
5
1
5
3
53 42 31 21
42 (1)5 42 31 53 42 31 21 53 42 31 53 42 31 21
'
' '
''
''
''

''
''
G
''
''
''
' '
' '
' '
' '
' '
'
3
1
2
2 1
2 3 1 2 3 2 1 2 3
1
5
3
4
4
5
4 5 3 4 5 4 3 4 5
3
1
5
1
5
1
5
1
5
1
5
W8
HARMONIC MINOR THIRDS
51
'
'
E'
E'
' '
'
'
'
'
'
'
'
'
'
'
'
'
G ' ' '
E'
' ' E'
'
' ' ' '
35 24 13 12 35 24 13 12 35 24 13 35 24 13 12
24
4
2
3
1
5
1
5
3
3
1
5
1
5
3
4
2
5
1
3
1
4
2
5
1
5
3
4
2
3
1
4
2
5
1
5
3
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' E'
' '
' E'
''
''
''
''
' E'
G
''
' E'
''
''
' '
' '
'
12 13 24 35 13 24 35 13 24 35 24 13 24 35 15
1
1
1
1
1 2
24
5
5
5
5
5
4
51
'
'
E'
' '
'
' E'
'
'
'
'
'
'
E
'
'
'
'
E
'
E
'
' ''
G '
''
''
''
35 24 13 35 24 13 35 24 13 12 35 24 13 24 13
3
1
4
2
5
1
5
3
3
1
4
2
5
1
5
3
4
2
5
1
3
1
4
2
5
1
5
3
3
1
4
2
5
1
5
3
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' E'
' '
' E'
' '
' '
' '
''
E
' E'
''
' E'
''
''
G
''
''
'
13 24 13 24 35 13 24 35 24 13 24 35 13 24 35
1
1
1
1
1
1
15
5
5
5
5
5
5
W9
41
5
2
4
2
3
1
5
3
3
2
4
1
5
2
4
2
4
2
5
1
3
1
4
2
3
1
5
3
51
'
'
E'
E'
' '
'
'
'
'
EE
'
'
'
'
'
'
'
'
G ' ''
' ' E'
' ' E'
' ' '
1 3 2
3 2 1 3 2
2
1 1
1
1
24 13
4
3 5 4
3 2
3
2
5 4 3 5 4
5
1
3
1
4
2
5
1
3
1
4
2
5
1
5
3
5
1
3
1
5
1
5
3
4
2
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
' ' ' E' '
''
' ''
EE ' E ' '
''
' E'
''
G
' E'
''
''
''
' '
'
13 24 13 24 35 24 13 24 35 13 24 35 24 13 24
1
5
1
5
2
4
2
3
F#
EE
GE
31
42
4
2
5
3

3
1
1
1
5
1
5
4
2
1
1
4
5
3
2
2
5
3
1
2
4
1
5
2
4
2
3
4
2
5
3
4
2
3
1
1
15
1
5
4
2
1
1
4
5
3
2
2
5
2
4
4
2
3
1
5
3
'
'
'
'
E
'
E
'
'
'
'
'
'
'
'
'
'
'
'
'
' ' E'
' E'
'
' '
' '
' '
24 13 35 24 13 35 24 13 12 35 24 13 35 24 13
42
53 42 31 53 42 31 53 42 31 21 53 42 31 53
' E'
EE'
''
' E'
''
''
''
GE
''
' E'
''
' E'
' '
' '
' '
' '
'
13 24 35 13 24 35 13 24 35 24 13 24 35 13 24
3
1
4
2
W10
C#
EE
GEE

5
2
4
2
3
1
4
3
5
3
4
2

31
'
'
' '
E'
E'
'
'
'
'
'
'
'
'
'
'
' E' '
''
' E'
'
''
''
''
1 3 2 1
2 1 3 2 1
1
3
2
1
1 3
315 5 4 3 2 5 4 3 5 4 3 2 5 4 3
4
2
2
5
3
2
3
1
4
2
5
3
4
2
3
1
4
2
2
3
1
5
3
2
4
2
5
3
42 31
2
1
3
2 1 3 2
1 1
3 2 1 3 2
'
'
'
'
'
E
E
'
'
'
' ''
EE
''
''
' E'
''
' E'
GEE
''
''
''
''
'
2
2
2 2
2
1
3
1
2 3 2 1
2 3
1 2 3 2 1/3
3
4
5
3
4 5 4 3
4 5
3 4 5 4 5
5
3
31
42
5
2
G#
EEEE
G E
4
3
4
2
5
3

3
1
4
2
2
5
3
2
3
1
4
2
5
3
4
2
3
1
4
2
2
5
3
2
3
1
4
2
5
3
2
4
1
3
1
2
3
5
2
4
1
3
3
5
2
4
1
3
1
2
3
5
2
4
1
3
'
'
'
9'
9'
'
'
'
'
'
'
'
'
'
'
'
' 9' '
''
' 9'
'
' '
' '
' '
315
1
3
5

53 42 31 53 42 31 53 42 31 21 53 42 31
' 9'
EEEE '
''
' 9'
''
''
''
''
G E
' 9'
''
' 9'
''
''
''
''
'
2 2
2 2
1
1 2 3 2 1
2 3
1 2 3
2 1/3
2 3
3
3 4 5 4 3
4 5
3 4 5
4 5
4 5
4
2
5
3
3
1
4
2
W11
21
42 31
4 5
2 3
3
1
5
4 3
2 1
4 5
2 3
3
1
5
4
2
5
3
3
1
4
2
3
1
5
3
4
2
'
'
9'
9'
''
'
'
'
'
'
'
'
'
EEEE E
'
'
'
'
' ' 9'
G E '
' 9'
''
''
''
3 2 1 1
1 3 2 1 1
3 2
1 1
3 2
3 5 4 3 2
5 4
3 2
5 4 3 2
5 4
24
D#
42
2 1
2 1
3 2 1 1 3
3 2 1 1 3
'
' 9'
'3 9 '
'
'
'
'
'
'
'
E
E EE
' ''
' 9'
''
' 9'
''
GE E
''
''
''
'
12 13 24 3/15 13 24 35 24 13 24 3/15 13 24 35 24
5
21
3
2
A#
E EE E
GE EE
1
5
2
5
1
4
4
2
5
2
4
2
5
2
4
2
4
3
5
3
2 5
4 3
5 4 3 2 5
1 2
5 5
1
4
3 4 5 4
2 1 2 2
5
1
3 4
1 2
5
1
5 4 3
3 2 1
5
2
4
2
4
3
5
3
5
1
3
1
5
1
5
3
53
'
'
'
'
'
9
'
9
'
'
'
'
'
'
'
'
'
'
' 9' '
' 9'
''
''
'
''
''
3 2 1 3
1 2
2 1
1 3 2 1 3
2 1
5 4 3 5
2 4
4 3
2 5 4 3 5
4 3
4
2
3
1
4
2
4
2
21
42
2 1
1 3 2 1 3 2 1
1 3 2 1
'
'
'
'
E E E 9' ' 9'
''
''
''
''
' 9'
G E EE E
''
' 9'
''
''
''
''
'
24 13 24 35 24 13 24 35 13 24 35 24 13 24 35
12 15
1
2 3 1
1
2 3
5
5 4 5
5
5 4
5
3
2 5 4 3
2 1 2
3 4 5
2
4
4 3
2 5
2
3
1
4
2
5
2
4
W12
31
42
5
2
A
4
3
4
2
5
3

3
3 1
'2 '
2 ' '
'
!
'
'
'
'

'
'''
''
''
G ' '
!'
''
'
' !'
'
'
'
''
15
1
3
3
5
3
1
4
2
2
5
3
2
3
1
4
2
5
3
4
2
3
1
4
2
2
2
4
1
3
1
2
3
5
2
4
1
3
3
5
2
4
1
3
1
2
3
5
2
4
1
3
42 31
53 42 31 53 42 31 53 42 31 21 53 42 31 53 42
' ' !'
' ''
' ! ' '
''
''
''

' !'
' !'
G
''
''
''
''
''
'
2 2
2 2
1
1 2 3 2 1
2 3
1 2 3 2 1/3
2 3
4 5
3
3 4 5 4 3
4 5
3 4 5 4 5
E
21
42 31
5
4
2
5
3
3
1
4
2
5
3
1
4
2
3
1
5
3
4
2
5
3
3
1
4
2
3
1
4
2
5
3
'
!'
''
' !'
'
'
''
'
'
'
'
'
'

' !' '
''
' !'
G '
''
''
''
1 1
2
1 1
3 2 1 3 2
3
3 2 1 1
5 4 3 5 4
5
3 2
4
3
2
5 4 3 2
24
42
3
'
' !'
' !'
''
'
'''
''
''

' !'
''
' !'
''

''
G
''
''
'
12 13 24 3/15 13 24 35 24 13 24 3/15 13 24 35 24
5
3
4
2
3
1
5
3
1
5
2
5
1
4
4
2
3
1
2
1
5
3
4
2
3
1
5
3
1
5
2
5
1
4
4
2
3
1
2
1
W13

5
2
5
2
4
2
4
1
3
2
2
1
4
2
3
1
4
2
4
3
5
3
5
1
3
1
5
1
5
3
4
2
3
2
4
1
4
2
3
1
5
2
5
2
4
2
4
2
4
3
5
3
5
1
3
1
53
5
1
5
3
4
2
4
2
'
'
!'
!'
' '
'
'
'
'
'
'

'
'

'
'
'

'
' !'
G ' ''
' ' !'
' ' ''
3
1
2 1
1 3 2 1 3
2
1 2
2 1 3
3
5
4 3
2 5 4 3 5
4
2
4
4 3 5
5
3
4
2
3
1
2
1
5
3
4
2
3
1
5
3
4
2
3
1
2
1
5
3
4
2
3
1
12
1
3
1
5
2
4
3
5
1
5
2
4
1
3
2
4
3
5
1
5
2
4
1
3
1
4
3
5
3
4
2
4
1
3
1
5
2
3
2
4
2
5
2
5
2
3
1
4
2
4
2
5
2
5
21
42
'
' !'
' '
' !'
''
''

''

''

' !'
''

G
' !'
''
''
''
' '
'
2
4
3
5
3
4
2
4
42
'
'
'
''

!
'
!
'
'
'
'
'

'
'
'
'
G
'
' !' '
''
' !'
'
' '
' '
' '
3
1 3 2 1 3
2 1
1 2
2
1
3
2 1
4 3
5
2 5 4 3 5
4 3
2 4
4
3
5
F
3
1
4
2
5
3
4
2
5
1
3
1
4
2
5
1
5
3
3
1
4
2
5
3
4
2
5
1
3
1
4
2
5
1
5
3
31 53 42 31 21 53 42 31 53 42 31 21
' !'
''
'
' !'
''
''
''
G
''
' !'
''
' !'
' '
' '
' '
' '
'
24 13 24 35 24 13 24 35 13 24 35 24 13 24 35
1
1
12 15
5
5
4
2
5
1
3 4
1 2
W14
4
2
5
3
5
1
4
2
5
1
3
1
5
1
5
3
5
1
4
2
4
2
5
3
5
1
3
1
'
'
' '
!'
!'
'
'
'
'
'
'
'
'

'
'
'
'
G '
' ' !'
' !'
''
''
''
3 2 1 3
1 3 2 1 3
2
1
1 2
2 1
5 4 3 5
4 3
4
2 5 4 3 5
4
3
2
3
1
4
2
5
3
3
1
4
2
4
2
3
1
4
2
5
4
3 5 4 3
2 5
4 3 5 4 3
42
3
2
1 3 2 1
1 3
2 1 3 2 1
'
' !'
'
'
!
'
'
'
' ''

''
''
' !'
''
' !'
G
''
''
''
''
'
24 13 24 35 24 13 24 35 13 24 35 24 13 24 35
5
1
3
1
1
5
1
5
1
5
1
5
4 5
2
1
'
'
'
'
E
'
E
'
'

'
'
'
'
'
'

'
'
'
G
' E' '
''
' E'
' '
'
' '
' '
3
2
1
3
2 1
1 3 2 1 3
2 1
1 2
5
4
3
5
4 3
2 5 4 3 5
4 3
2
4
3
1
4
2
5
3
3
1
4
2
5
3
4
2
3
1
4
2
5
3
3
1
4
2
5
3
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
' ' ' E'
' ''
' E'
''
''

''
G
' E'
''
' E'
''
' '
' '
' '
'
24 13 24 35 24 13 24 35 13 24 35 24 13 24 35
W15
51
'
'
'
E'
E' '
'
'
'
'
'
'
'
'
'
'
'
'
' ' E'
G '
' E'
''
''
''
1 3 2 1
3
1 2
3 2 1 3
2 1
2
1
2 5 4 3
5
2
4
5 4 3 5
4 3
4
3
3
1
4
2
5
1
5
3
3
1
4
1
4
2
5
2
5
3
4
2
5
1
3
1
4
2
5
1
5
3
3
1
4
1
4
2
5
2
5
3
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' E'
' '
' E'
' '
' '
''
''
' E'
''

' E'
''
G
''
''
''
'
1
2
3
2
1
2
3
1
2
3
2
1
2
3
2
4 3 4 5 4 3 4 5 3 4 5 4 3 4 5
15
1
2
1
1
1
2
1
1
4
5
5
5
4
5
5
5
W16
MELODIC MINOR THIRDS (HYBRID FORM)
51
'
E'
' '
E'
E'
' E'
'
'
'
'
'
'
'
'
'
'
G ' ' E'
E'
' E' E'
'
' ' ' '
1
3
2
3
2
1
3
2
1
1 3 2 1
1 2
3
5
4
3
2 5 4 3
2
5
4
5
4
3
4
24 13
3
1
4
2
5
1
5
3
3
1
5
3
5
3
4
2
4
2
3
1
3
1
2
1
5
3
5
3
4
2
4
2
3
1
3
1
5
3
2
1
4
2
5
3
3
1
4
2
5
3
3
1
4
2
2
1
3
1
1
3
2
4
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
3
5
1
3
2
4
3
5
1
(3)
5
1
3
2
4
1
5
1
3
2
4
1
5
1
3
2
4
1
5
1
3
2
4
1
3
5
2
4
1
5
2
4
1
5
1
3
2
4
1
5
2
4
1
5
4
2
5
3
5
1
3
1
4
2
5
1
5
3
4
2
3
1
4
2
5
3
53
4
2
4
2
4
2
3
1
3
1
1
3
2
4
13
2
4
3
5
1
(3)
5
2
4
1
3
5
3
'
' '
' '
' '
'
'''
''
''
''
G
''
''
''
' '
' '
' '
'
5
1
3
51
'
'
E'
''
' E'
E
'
E
'
'
'
'
'
'
E
'
'
'
'
' E'
' E' E'
' E'
G '
''
''
35 24 13 35 24 13 35 24 13 12 35 24 13 35 24
24 13
E
3
1
4
2
5
1
5
3
3
1
4
2
5
3
5
1
4 3
2 1
5
1
5
3
4
2
3
1
4
2
5
3
4
2
42 31
42 31 53 42 31 53 42 31 21 53 42 31 53 42
'
' '
' '
' '
' '
' '
' '
E
' '
''
''
''
''
''
G
''
''
'
13 24 13 24 35 13 24 35 24 13 24 35 13 24 35
5
1
5
3
1
5
1
5
1
5
1
5
1
5
1
5
W17
51
'
''
E'
' EE '
E'
E'
'
EE
'
'
'
'
'
'
E
'
G ''
'E ' '
' E'
' E'
' E'
' ''
24 13 35 24 13 12 35 24 13 35 24 13 12 35 24
24 13
5
1
5
3
4
2
3
1
3
1
4
2
5
5
1
1
4 3 4 5
2 1 2 3
5
3
3
1
4
2
4
2
5
3
42

51 42 31 53 42 31 53 42 31 21 53 42 31 53
' ' ' '
' ' '
EE ' '
''
''
''
''
''
G
''
''
''
' '
' '
'
13 24 13 24 35 24 13 24 35 13 24 35 24 13 24
1
5
EE
GE
F#
31 42
1
5
1
5
1
5
5
2
5
3
4
3
4
2
3
1
4
2
5
2
5
3
4
3
4
2
'
''
E'
' EE'
E'
E'
'
'
'
'
'
'
'
'
' E' '
' E'
' E'
'
' E'
''
''
24 13 35 24 13 35 24 13 12 35 24 13 35 24 13
4
2
53
5
3
3
1
4
2
3
1
3
1
2
1
4
2
3 4 5 3
1 2 3 1
4
2
3
1
42
4
2
3
1
4
2
''
EEE '
''
''
''
''
''
G
''
''
''
''
' '
' '
' '
' '
'
13 24 35 13 24 35 13 24 35 24 13 24 35 13 24
4
2
5
3
4
2
3
1
5
3
4
2
3
1
2
1
5
3
4
2
3
1
5
3
W18
5
2
3
1
4
2
4
3
4
2
5 3
3 1
5
2
5
3
4
3
4
2
5 4
2 3
3 4 5 3
1 2 3 1
5
2
5
3
4
3
4
2
1 2
'
E'
'
'
E
'
E
'
'
E
'
E
'
'
'
EEEE
'
'
'
'
'
'
'
'
E
E
'
' ' E'
G
' E'
'
''
''
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
C#
4
2
4
2
53 42 31
42 31
42 31 21 53 42 31 53 42 31 21 53 42 31 53 42
' ' '
' ' '
EEEE ' ' '
''
''
''
''
''
''
G
''
''
''
''
'
2
3
1
1
2 3 2 1 2 3 1 2 3 2 1
4
5
3
3
4 5 4 3 4 5 3 4 5 4 5
G#
EE
G E EE

5
2
3
1
4
2
4
3
4
2
5
3

5 4
2 3
4 5 4 3
2 3 2 1
'
'
''
9'
9'
'
E
'
E
'
'
'
'
'
'
'
E
'
'
'
' E' 9 '
' 9'
' E'
'
''
''
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
3
1
5
3
2
4
2
2
3
1
4
2
2
3
1
5
3
2
4
2
42
5
3

53 42 31 53 42 31 53 42 31 21 53 42 31 53
' '
''
EEEE '
''
''
''
''
''
''
G E
''
''
''
' '
' '
' '
'
1
2 3 2 1 2 3 1 2 3 2 1
2
3 1
3
4 5 4 3 4 5 3 4 5 4 3
4
5
5
2
3
1
4
2
5
2
4
2
3
1
4
2
5
3
1
4
2
2
4
W19
21
42 31
51 42
41 53
'
''
9'
E'
E'
' 9'
'
'
'
'
'
EEEE E
'
'
'
'
'
' E' 9'
G E '
' 9'
' E'
''
''
1
3
2
1 1
3 2 1 1 3 2 1 3 2 1
2
5
4
3 2
5 4 3 2 5 4 3 5 4 3
24
D#
4
2
5
3
2
4
2
3
1
4 5 3
2 3 1
4
2
5
3
2
4
2
3
1
4
2
5
3
42
3
'
'
'
'
'
'
'
'
''
' ' '
EE E
''
''
''
''
''
G E EE
''
''
''
'
12 13 24 35 13 24 35 24 13 24 35 13 24 35 24
24
5
3
4
2
3
1
5
3
2
3
1
4
2
5
2
4
4
1
3
1
5
2
4
2
2
4
2
5
3
2
3
2
2
1
4
2
3
1
5
1
3
1
2
1
5
1
5
3
3
2
4
2
5
3
4
2
3
1
5
3
2
3
1
4
2
5
2
4
4
1
3
1
5
2
4
2
4
2
5
3
4
2
5
1
3
1
3
1
2
1
5
1
5
(1)
53
'
'
9'
9'
''
EEEE EE
9
'
9
'
'
'
'
'
'
'
'
'
'
'
'
G E '''
9
9
'
9' ' 9'
''' '
1 1
1 3 2 1 3 2 1 1 3 2
3 2 1
3 2
2 5 4 3 5 4 3 2 5 4
5 4 3
1
1 2
5
5 4
A#
4
2
4
2
4
2
21
42
2
1 1 3 2 1 3 2 1 1 3 2
1
'
'
'
'
E
'
'
E E
' ''
''
''
''
''
G E EE E
''
''
''
''
' '
' '
'
12 13 24 35 24 13 24 35 13 24 35 24 13 24 35
2 1 2 2
2 1
2
24
2
3 4 5 4
3 4
5
4
5
3
W20
231 342
42 53
5

G
3
1
4
2
2
5
3
2
5 4
2 3
4 5 4 3
2 3 2 1
3
1
4
2
2
3
1
5
3
2
4
2
5
3
'
''
!'
' !'
!'
!'
'
'
'
'
'
'
'
'
'
'
!
!
'
'
' ' !'
' !'
'
''
''
15 35 24 13 12 35 24 13 35 24 13 12 35 24 13
4 3
53 42 31 53 42 31 53 42 31 21 53 42 31 253 142
' ' ''
' ''
' '
''
''
''

''
G
''
''
''
''
' '
' '
'
1
2
3 2 1 2 3 1 2 3 2 1 2
3 1
3
4
5 4 3 4 5 3 4 5 4 3 4
5
5
2
3
21
42 31
1
4
2
5
2
4
2
3
51 42
1
4
2
4
2
5
41 53
2 3
'
'
'
''
!
'
!
!
'
!
'
'
'
'
'
'
'
'
'

'
'
' !'
' !' !'
' !'
G '
''
''
3 2 1 1 3 2 1 3 2 1
1
3
2
1 1
5 4 3 2 5 4 3 5 4 3
2
5
4
3 2
24
4
2
5
3
2
4
2
3
1
4 5
2 3
3
1
4
2
5
3
2
4
2
3
1
42
3
'
' '
' '
' '
' '
'
'
'
' ''

''
''
''
''
''
G
''
''
'
4
2
3
1
5
3
4
2
3
1
2
1
5
3
4
2
3
1
5
3
4
2
3
1
2
1
2
4
1
3
2
4
3
5
1
3
2
4
3
5
2
4
1
3
2
4
3
5
1
3
2
4
3
5
2
3
1
4
2
5
2
4
2
3
1
4
2
5
2
4
5
3
12
2
4
W21
53
4
4

42
2
2

'
'
'
'
!
'
!
'
!
'
!
'
'
'

'
'
'

'
'
'

'
'

'
!
!
'
G ''
' !' ' !'
' '' '
3 2 1 1 3 2 1 3 2 1 1
2
1 1
3
5 4 3 2 5 4 3 5 4 3 2
4
3 2
5
1
1 2
5 4
5
3
2
2
1
4
1
3
1
4
2
5
3
2
5
2
4
2
2
5
1
3
1
3
2
4
2
5
1
5
3
4
1
3
1
5
2
4
2
4
2
5
3
5
1
3
1
5
1
5
(1)
21
42
2
1
1 3 2 1 3 2 1 1 3 2 1
'
'
'
'
'
'
'
''
''

''
''
''
''
G
''
''
''
''
' '
'
12 13 24 35 24 13 24 35 13 24 35 24 13 24 35
2 1 2 2
2 1 2
2
24
3 4 5 4
3 4 5
4
5
3

G
3
1
4
2
5
3
4
2
5
1
3
1
4
2
5
1
5
3
3
1
4
2
5
3
4
2
5
1
3
1
4
2
5
1
5
3
42
3
1
'
!'
''
' !'
!'
'
' !'
'
'
'
'
'
'
' !' '
' !'
' !'
'
' !'
''
''
3 2 1
3
1 3 2 1
3
1 1
1
2
1
2
5 4 3
3 5 4 3
5
3 2
5
2
4
2
4
24
51
31 53 42 31 53 42 31 21 53 42 31 53 42 31 21
''
''
'
''
''
''
''
''
G
''
''
''
' '
' '
' '
' '
'
12 13 24 35 24 13 24 35 13 24 35 24 13 24 35
24
W22
42
31
5
1
4
2

4
2
5
3
5
1
3
1
5
1
5
3
5
1
5
3
5
1
3
1
42 51
5
1
5
3
'
!'
' '
' !'
!'
!'
'
'
'
'

'
'
'
'
'
'
G ' '
' !' !'
' !' !'
' '' '
3 2 1
1
2
1
2
1 1
3
1 3 2 1
3
4
5 4 3
2
2
4
3
5
3 5 4 3
5
224
4
2
3
1
4
2
4
2
4
2
3
1
4
2
51 53 42 31 21 53 42 31 53 42 31 21 53 42 31
'
' '
' '
' '
' '
' '

''
''
''

''

''
G
''
''
''
' '
'
12 13 24 35 24 13 24 35 13 24 35 24 13 24 35
24
51
'
'
'
E'
E' '

'
!
'
!
'
'
'
'
'

'
'
'
'
G
'
' !' E'
' E'
' !'
'
' '
' '
3
1
1
2
1
2
2
3
1 3 2 1
3
1 1
5
2
3
4
2
4
4
5
3 5 4 3
5
3
2
24
3
1
42
51
'
'

G
12
24
4
2
1
5
3
2
5
1
3
1
5
1
5
3
4
2
4
2
3
1
4
2
1
5
1
3
1
5
3
2
5
1
5
3
4
2
4
2

53 42 31 53 42 31 21 53 42 31 53 42 31
'
''
' '
''
''
''
''
''
''
''
' '
' '
' '
' '
'
3
1
4
1
1
3
1
5
2
4
3
5
1
5
2
4
1
3
2
4
3
5
1
3
1
5
2
4
3
5
1
5
2
4
1
3
2
4
3
5
W23
D
4 5
2
1'
'
'
'
E
'
E
'
!
'
!
'
'
'
'
'
'
'
'
'
' E' '
' !'
G '
' E'
' !'
''
''
35 24 13 12 35 24 13 12 35 24 13 35 24 13 12
24
3
1
G
42
51
'
'
5
1
5
3
4
2
3
1
5
1
5
3
4
2
4
2
5
1
3
1
4
2
5
1
5
3
3
1
5
1
5
3
4
2

42 31
53 42 31 21 53 42 31 53 42 31 21 53 42
'
' '
' '
' '
' '
' '
''
''
''
''
''
''
''
''
'
3
1
4
1
12 13
24 15
2
4
3
5
1
5
2
4
1
3
1
5
2
4
3
5
1
5
1
3
2
4
3
5
1
5
2
4
1
3
1
5
2
4
3
5
1
5
W24
MAJOR SIXTHS
C
3
1
4
1
3
1
4
1
5
2
1
5
2
1
4
1
5
2
4
1
5
2
3
1
4
1
5
2
4
1
5
2
4
1
3
1
4
1
5
(2)
4
1
3
1
4
1
5
(2)
4
1
31
3
1
4
1
5
2
4
1
5
2
2
'
'
'
'
''' ' ' '
'
'
'
' ''''
G
' '
' ' '
' '
'
'
' ' '
3
1
4
1
5
2
1
3
1
4
1
5
(2)
3
1
4
1
5
(2)
3
1
4
1
5
(2)
3
1
4
1
2
5
1
4
1
3
2
5
1
4
1
3
2
5
1
4
1
3
2
5
1
4
1
3
2
5
1
4
1
3
' 1' 1' 2' 1 1 2 1 1 2 1 1 2 1 1

' ' ' ''''''
''''' ' ' ' ' '
G
' ' ' ' ' '
'
1
5
2
1
3
1
4
2
5
1
3
1 (2) 1
4 5 3
1
3
1
4
1
2
5
1
4
1
3
1 (2) 1
4 5 4
1
3
1
4
1
2
5
1
4
2
5
1
4
1
3
1
4
(2)
5
1
3
1
4
2
5
1
3
1
4
(2)
5
1
4
1
3
1
4
2
5
1
4
2
5
1
4
2
5
1
4
2
5
1 (2)
4 5
2
5
1
3
G
1
'
'
'
'
'
'''
'
'
'
'''
4
1
5
1
3
1
4
1
5
2
5
1
(2)
5
1
4
1
3
2
5
1
4
1
3
2
5
13

''
''
''
G' ' ''
'
'
' ' ''
4
1
5
1
3 4 5 5 4 5
1 1 2 1 1 2
1
5
1
4
1 2 1 1 2 1
3 5 4 3 5 4
2
1
2
1
1
1
'
'
'
' '
E '''' '
' ' ' ' ' ' '
'
' '
G '''''
'
'' ' '
1 2 1 1 1 1 1
1
2
1
1
1
1 1
2
4 5 5 3 4 5 3
4
5
5
3
4
5
4
5
5
2
4
1
3
1
5
2
5
1
4
1
3
1
5
2
4
1
W1
52
41 52
'
'''
'
'
EE
'
'
' '' ' ' '
''
G '''''
''''
'
'
'
'
'
25 14 25 15 14 13 25 14 13 25 15 14 13 25 14
D
4
1
5
1
3
1
4
1
5
2
5
1
3
1
4
1
5
1
3 4
1 1
5
2
5
1
'2 '1 1 '2 1 1 1 2 1 1 2 1 1 1 2

EE ' ' '
' ''
' ''
''
'''
' ' '
G
''' '
' ' '
' ' '

1
2
1
1
1
2
1
1
1
1
1
1
4 5 5 3 4 5 5 3 4 5 3 4 25 15 14
5
52
41 52
''
EEE
''
'
'
'
'
'
' '''' ' '
G
'
'
'
'' '
' ''
'
'
'
'
'
14 15 25 14 13 25 15 14 13 25 14 13 25 14 13
25 15
A
4
1
5
1
3
1
4
1
5
2
1
5
5
2
4
5
1
3
4
1
4
1
3
1
3
1
4
1
2
3
1
5
2
4
1
5
1
5
1
3
1
5 3
2 1
1
4
1
5
5
2
4
5
1
1
3
2
1
4
3
3
4
1
2
3
1
2
''''
EEE '
'
'
'''' ' ' ' '
G
'' ' ' ' ' ' ' '
' ' ' ' '
'
1
1
1
1 2 1 1 1
1
1 1
1
1 2
1 1 1
3
4 5 4 3 4
5
5
4
3
4 5
4 3 5
5
2
4
1
3
1
1
3
2
1
4
3
2
5
4
1
5
5
5
2
4
1
3
1
2
5
4
1
5
5
W2
E EE
GE
3
4
1
4
3
1
5
4
1
5
5
2
1
(5)
5
2
4
1
5
2
1
3
1
5
2
1
4
1
3
4
1
4
3
2
5
4
1
5
5
2
1
3
1
4
1
5
(2)
' '
' '
'
'
'
'
' ''
' ' ' '
'
'
'
'
'
'
' ' ' ' '' '
' '
14 25 15 14 13 25 14 13 25 15 14 13 25 14 13
3
1
5
5
2
4
5
1
3
4
1
2
3
1
3
2
4
3
5
4
5
5
5
2
4
1
3
1
5
5
2
4
5
1
3
4
1
2
3
1
3
2
4
3
5
4
5
5
5
2
' ' ' '

' ''
EEEE ' ' '
' ' ''
'''
''''
G
'
''
' '
' ' '
'
1
1
1
1
2
1
1
2 1
1
1 1 2 1 1 2 1 1
1
5
5
5
4
3 4 5 3 4 5 4 3
4
3
4
E EE
GE E
5
(1)
3
1
4
1
5
1
3
4
1
5
5
5
4
4
3
3
2
4
3
1
5
4
1
5
5
2
4
3
1
(4)
3
1
4
1
5
1
3
4
1
5
4
1
5
5
2
5
5
5
4
4
3
3
2
5
2
3
1
2
5
2
1
4
1
3
1
5
2
1
4
3
2
1
3
4
3
1
4
5
4
1
2
5
5
5
1
(5)
(4)
'
''
''
'
'
'
'
'
'
'
'
' ''''
'
'
'
' ' ' ' ' ' '
' '
1
2
1 2
1
5 25 14 13 25 15 14 13 25 14 13 25 15 14 13
5
5
2
4
5
1
3
4
1
1
3
1
4
1
5
5 5 4
2
3 5 4
1 2 1
2 1
3
3
1
5
5
2
4
5
1
3
4
1
1
3
1
4
1
5
' ''
EEEE '
' ''
' ''
''''
E
G
''
'' '
' '
''''
'''
''
1 1 1
4 3 4
3 4 5
2 3 4
1
2
5
5
5
W3
2
3
(5)
1
F#
3
4
3
1
4
5
4
1
5
5
5
2
1
3
1
5
2
1
4
1
'
' '
''
'
'
EEEE E ' '
'
E ''''
1
5
2
5
1
4
1
3
2
3
4
1
1
3
1
3
2
5
1
2
4
4
1
3
3
1
2
5
2
1
C#
51 52
4
1
1
4
1
5
1
3
2
5
2
5
1
4
1
4
1
3
1
3
2
5
1
2
5 5 4 3
EEEE E ' ' ' '

' '
G E '''''
'' '
''
1
25 13 14 25 13 14 25 14
5
1
2
4
1
3
1
1
3
4
3
1
4
5
4
2
5
5
5
5 4 3 2
5 4 3 5
2 1 1 2
1
' ' ' ''

'
' ' '''
''
'
3
2
3 4 5 5
2 3 4 5
3
1
'
'''
'
'
' ''
'
'
'
'
' 2'
1
4
1
4
5
5 5 4 3 5
2 1 1 1 2
5
5
5
2
1
G'
2
5
2
5
4
5
4
1
3
4
3
1

1
1 1 2 1
3 4 5 4
2
5
51
'
'' '
EEEE E
'
'
'
'
'
'
'
''''''
G EE ' ' ' ' '
' ' ' ' ''
'' 1 2
1 2
3
1
4
1
5
1
2
3
4
1
2
5
5
5
1
4
5
4
1
3
4
3
2
5
3
2
3
4
3
1
4
5
4
1
5
5
5
2
1
1
5
1
4
1
3
2
3
4
1
3
4
3
1
4
5
4
1
5
5
5
2
1
2 1 1 2
5 4 3 5
5 5 4 3
5 4 3 2
1
5
1
4
1
3
3
1
4
1
5
1
(4)
2
5
5 4 3

1 1 1
' ' ' ''
2
E
EE E E ' ' ' ' ' ' ' '
'''' ' ' ' '
G EE
'' ' ' ' ' '
''
1
1
1
(4)
5
1
5
5
5
2
4
5
4
1
3
4
3
1
5
2
3
5
5 5 4 3 5
2 1 1 1 2
1 2
4
5
4
1
3
4
3
1
2
3
5
2
1
(1)
5
1
3
1
4
2 1 1 1 2 1
5 4 3 4 5 3
3 4 5 5
1
4
2
5
1
4
3
1
3
4
1
4
5
(2)
5
5
W4
5
(1)
3
1
4
1
5
1
3
4
1
4
3
1
5
4
1
5
5
2
3
1
4
1
5
1
3
4
1
4
3
1
5
4
1
5
5
2
1
(5)
2
5
5
5
1
4
5
4
1
3
4
3
2
5
3
2
1
5
1
4
1
3
2
5
5
5
1
4
5
4
1
3
4
3
2
5
3
2
1
5
1
4
1
3
5
5
2
4
5
1
3
4
1
5 4
2
3 5 4 3 5 5
1 2 1 1 2 1
2 1
3
4
1
2
3
1
2
5
2
1
4
1
3
1
5
2
1
3
1
4
1
5
1 1 1
4 3 4
3 4 5
2 3 4
1
5
1
4
1
3
4
3
1
4
5
4
2
5
5
5
1
(5)
(4)
'
' '
'
'
'
'
'
'''''' ' '
'
'
'
'
' ' ' ' ' ' ''
' '
2
1 2
1

G
5 5 4 3
' ' ' ''

' ' ' ''''''

'''' ' ' ' ' '
G
''''''
'
1
1
2 1 1
5 3 4
5
5
3
2
3 4 5 3 4 5 5
5 4
1 1 2 1 1 1 2
2 1
'
1
1
'
'
'' ' '
'
''
''''
'''
G' ' ' ' ' ' ' ' '
' ' 2' '
3
4
4
5
5
5
(5) 3
1 1
4
1
5
2
1
3
1
4
1
1
5
1
4
1
3
2
5
2
5
1
4
1
5
2
3
2
5
5
2
5
1
4
1
3
1
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
1
2
3
3
4
4
5
5
5
1
3
1
4
2
5
1
3
1
5
1
4
1
3
5
1
2
4
3
5
4
5
5
3
2
4
3
1
4
1
5
1
3
1
4
2
5
1
3
5
5
5
2
4
5
4
1
3
4
3
1
1
3
1
4
1
2
5
2
3
5
2
1
' 1' ' '

' ' ' '''
''
4
1
'''' '

'
G ' ' ' ' '
'
'' '
'' '
1
25 13 14 25 13 14 25 14 13 14
3
2
2
5
2
5
5
4
2
5
5
5
1
4
W5
51
' '
' '
'
'

' '
'

'
'
'
'

'
'

'
'
G ' ' ' ' ''''
'
' ' ' 1' 2
1 2
3
1
4
1
5
1
2
3
4
1
2
5
5
5
1
4
5
4
1
3
4
3
2
5
3
2
3
4
3
1
4
5
4
1
5
5
5
2
1
1
5
1
4
1
3
3
1
4
1
5
1
2
3
4
1
2
5
5
5
1
4
5
4
1
3
4
3
2
5
3
2
3
4
3
1
4
5
4
1
5
5
5
2
1
1
5
1
4
1
3
(4)
2
5
5 4 3
5
4
3

1
1
1
' ' ' ' 1' 12 1 1
1
2
' ' ' ' ''''''
''''' ' ' ' '
G
' ' ' ' '
1
'
1
(4)
5
1
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
(1)
5
1
3
1
4
2
5
1
4
3
1
3
4
1
4
5
2
5
5
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
1
3
1
4
2
5
1
4
3
1
3
4
1
4
5
2
5
5
51
A
''

'''
'
'

'
'

' '''' ' '
G
'
'
'
' ' '
' ' '
'
'
'
'
'
3
1
4
1
5
2
1
2
5
1
4
1
3
2
3
4
1
3
4
3
1
4
5
4
1
5
5
5
2
1
2
5
5
1
5
4
1
4
3
1
3
2
3
1
4
1
5
2
1
2
5
1
4
1
3
2
3
4
1
3
4
3
1
4
5
4
1
5
5
5
2
1
2
5
5
1
5
4
1
4
3
1
3
2
(4)
2
5
41 52 51 41 31 52 41 31 52 51 41 31 52 41 31
'''''
'
'
'''''' ' ' '

G
'' ' ' '
' '
' '
' ' '
(1)
' '
1
1
1
(5)
2
5
1
4
3
1
3
4
1
4
5
2
5
5
1
3
1
4
2
5
1
4
3
1
3
4
1
4
5
2
5
5
1
3
1
4
(2)
5
W6
E
41
'
' ' '
' '
'
'
'

'
' '
'
'
'
'

'

'
'
G ' ' ' ''''
' ' ' '
3
1
4
1
5
2
1
2
5
1
4
1
3
2
3
1
4
1
3
4
1
3
1
4
5
2
4
1
5
5
1
5
1
2
5
5
1
5
4
1
4
3
1
3
2
3
1
4
1
5
2
1
2
5
1
4
1
3
2
3
1
4
1
3
4
1
3
1
4
5
2
4
1
5
5
1
5
1
2
5
5
1
5
4
1
4
3
1
3
2
2
5
41 51 52 41 31 52 51 41 31 52 41 31 52 41
' ' ' ' '
' ' ' ' ' ''''

' ' '
'''''

G
'' '
' ' '
1
2
1
25 15 13 14 25 14 13 14 15 13 14 25 13 14
5
3
1
'
'
2
5
41
' '
''

'
'
'
'

'
' '''' ' '
G
'
'
'
' ' '
' ' '
'
'
'
'
'
3
1
4
1
5
1
3
1
4
1
5
2
5
1
3
1
4
1
5
1
3
1
4
1
5
2
5
1
2
5
1
4
1
3
2
5
1
5
1
4
1
3
2
5
1
4
1
3
2
5
1
5
1
4
1
3
3
1
5
2
51
4
1
4
1
3
1
5
2
5
1
4
1
4
1
3
1
5
2
5
1
4
1
3
1
5
2
2
5
4
1
' ' ''

' ' '''''' ' '
'''' ' ' ' ' '
G
' ' ' ' '
' '
25 15 13 14 25 15 13 14 15 13 14 25 15 14 25
W7

4
5
5
3 4 5 4 5
1
2
1
1 1 1 1 2
'
' '
'
'
'
''
'
''
''
G' ' ' '
'''' '
''''
' ' ' '
2 1 1 2
1
1
1
2
1
1
2 1 1 2 1
5 4 3 5
5
4
3
5
4
3
5 5 4 5 4
4
1
5
2
5
1
3
1
4
1
5
1
3
1
3
5
4 3 5 4
' 1' 2' 1' 1 2 1
'''
' '
' ' ' ' ' ' ' ' ' '
''
G ' ' ' '
'' ' '
'
(1)
14 25 13 14 25 15 13 14 15 13 14 25 15 14 25
5
(2)
4
1
3
1
5
2
4
1
3
1
5
2
5
1
4
1
W8
HARMONIC MINOR 6THS

A
41 52
'
' ' E'
'
'
'
'
'
G
' E' '
' E' '
'
'
'
'
'
'
' ' ' ' E' ' '
' '
25 14 25 15 14 13 25 14 13 25 15 14 13 25 14
4
1
3
1
5
2
1
4
1
5
2
5
1
3
1
4
1
5
2
1
3
1
4
1
5
2
5
1
52 41 31 52 51 41 31 52 41 31 52 51 41 31 52
' E' ' '
' ' E'
G ' ' ' E' '
'''
' ' ' '
'
' E'
' ' '
' '
' '
'
1
2 1
1 1 1 1
2
1
1
1
1 1
2
1
4
5 5
4
5
3 4 5 3
5
5
3
4
5
4
5
5
1
3
1
4
1
5
1
4
1
5
2
5
2
2
5
1
4
1
3
2
5
4
1
5
1
3
1
5
1
5
1
5
1
3
1
4
1
4
1
5
1
3
1
4
1
1
5
2
5
1
5
2
5
1
4
4
1
5
1
5
1
5
1
3
1
4
1
5
1
4
1
5
2
5
2
1
3
2
5
1
5
2
5
1
(5)
3
1
5
1
E 1' 1'
'
'
'
E
'''
E' ' ' '
'
' ' E'
'
'
'
G ' ' ' '
' '
' ' ' ' E'
15 25 15 14 13 25 14 13 25 15 14 13 25 14 13
5
1

' E' ' ' '
E ' ' ' E' ' '
E' ' '
''
''
G
' ''
' E' ' '
'
' '
' '
5
1
5
2
4
1
4
1
3
1
5
2
5
2
5
4
1
4
1
5
2
3
1
4
1
5
2
3
1
5
1
5
2
4
1
4
1
3
1
5
2
5
2
5
4
1
4
1
5
2
3
1
4
1
5
2
3
1
4
1
1
5
1
4
1
5
1
3
2
1
4
3
1
5
4
2
5
5
1
5
1
4
1
5
1
3
2
1
4
3
1
5
4
2
5
5
1
5
W9
E
GE
4
1
5
1
4
1
5
1
4
1
5
1
4
1
5
1
4
1
3
1
4
1
5
1
4
1
3
1
4
1
5
1
E 2' 1'
'
'
'
'
' ' ' ' E' ' ' '
E
'
'
'
'
' E' ' ' ' '
' '
' ' ' '
15 25 14 13 25 15 14 13 25 14 13 25 15 14 13
3
1
5
1
4
1
5
1
3
1
4
1
5
2
5
1
2
5
1
4
5
2
5
1
4
5
3
1
4
1
5
1
3
1
4
1
2
5
1
4
5
2
5
1
4
5
5 4
5
4
5
4
5 4
5 4
2 1
2
1
2
1
2 1
51 52 51 41 31 52 41 31 52 51 41 31 52 41 31
EE '
' E'
' ' E'
''
' E'
''
'''
G
'' ' '
' ' '
' E'
' ' '
' ' '
1
5
(3)
1
4
1
5
1
5
1
3
1
4
1
2
1
4
2
5
1
3
1
4
1
5
1
4
1
5
1
4
1
2
1
5
1
3
1
3
1
4
1
5
1
4
2
5
5 5
(2) 1
'
E
'
' ' ' '
'
'
'
'
EEE
'
'
E
'
E
'
'
'
'
'
'
G ' ' '
' ''
' ' ' ' E1'
1
F#
2
3
1
4
1
3
4
1
3
1
4
5
2
4
1
5
5
1
5
1
3
1
4
1
5
2
1
2
5
1
5
1
4
1
3
5
2
5
4
1
4
3
1
3
2
2
3
1
4
1
3
4
1
3
1
4
5
2
4
1
5
5
1
5
1
3
1
4
1
2
5
1
5
1
4
1
3
5
2
5
4
1
4
3
1
3
2
2
5
51 52 51 41 31 52 41 31 52 51 41 31 52 41 31
' E' ' '
' ' E'
E
EE ' ' ' E' '
' ''
'' ''
' ' '
G
' E'
'' '
' ' '
(4)
1
2
5
1
4
1
3
2
1
3
1
4
3
1
4
2
5
4
1
5
1
5
5
1
3
1
4
1
2
5
1
4
1
3
2
1
3
1
4
3
1
4
2
5
4
1
5
1
5
5
1
3
1
4
1
2
5
W10
C#
EEEE
G
3
4
1
4
3
1
5
4
1
5
5
2
3
1
4
1
5
2
1
2
5
1
5
1
4
1
3
2
5
1
4
1
3
3
4
1
4
3
1
5
4
1
5
5
2
(4)
(5)
1
2
5
1
5
1
4
1
3
2
5
1
3
1
4
1
2
5
'
' E'
'
'
'
'
'
'
' ' ' ' ' E' '
E
'
'
'
' ''
' ' '
' ' ' ' E'
3
1
4
1
5
2
1
2
5
1
4
1
3
(4)
(5)
1
5
5
2
4
5
1
3
4
1
2
3
1
(1)
5
1
4
3
2
1
3
4
3
1
4
5
4
1
2
5
5
5
5
5
2
4
5
1
3
4
1
2
3
1
1
4
3
2
1
3
4
3
1
4
5
4
1
2
5
5
5
2
1
1
E' ' ' '
EEEE '
' ' ' E' ' ' ' ' E'
G
' ' '
''' ' '
' E' '
' ' ' '
'
5
2
4
1
3
1
1
3
1
4
1
2
5

9'
' '
'
'
'
'
'
E
'
'
EE E ' ' ' 9'
' ' 9'
'
'
'
'
G'
E'
9' ' '
' ' ''
G#
3
1
4
1
5
2
1
2
5
1
4
1
3
3
4
1
4
3
1
5
4
1
5
5
2
2
5
5
1
5
4
1
4
3
1
3
2
3
1
4
1
5
2
1
2
5
1
4
1
3
3
4
1
4
3
1
5
4
1
5 (4)
5 5
2 1
2
5
5
1
5
4
1
4
3
1
3
2
2
5
5 5
4 3 5 4 3
51 52 51 41 31 52 41 31
2 1
1 1 2 1 1
9
'
'
''''
9' ' ' '
EEEE '
' ' 9'

'
''''
'
'
G E ' ' 9' ' ' '
''
'
(1)
(4)
5 4
3 2
2
5
1 1
3 4
2 3
1 2 1
5 5 3
4 5
1
4
1
2
5
1
3
2
1
4
3
1
5
4
2
5
5
1
3
1 (2)
4 5
W11
3
1
4
1
5
2
5
1
3
1
4
1
5
2
5
1
5 5
1 2
9
' '
'
'
'
'
EEEE E
' '
'
'
'
9'
'
' 9'
'
'
G E ' ' ' ' 9'
' ' ''
' ' ' '
D#
3
3
1
4
4
1
5
5
2
1
5
4
1
3
1
4
1
5
1
2
5
1
4
1
3
2
5
5
1
5
4
1
4
3
1
3
2
5
2
2
3
1
5 4
1 1
3
2
4 5
3 4
5
5
2
4
3
1
3
5
4
1
4
4
5
1
5
5
5 3 4
2 1 1
1
2
5
1
4
2
5
1
4
3
3
1
4
4
1
5
5
2
1
5
4
1
3
1
4
1
2
5
1
4
1
3
2
5
5
1
5
4
1
4
3
3
1
1
3
2
(4
5
1
5
2
2
3
1
2
5
3)
4
1
5 4
52 41 52 51 41 52 41 31 52 51 41
2 1
'
9
'
'
'
E E E ' ' ' 9' ' ' ' ' 9'
'''' '' ' ' ' '
G E EE
' 9' ' ' '
''
(1)
1
2
25 15 13 14 25 14 13 14 15 13 14 125 13 14 25
5
A#
EE E
G E EE E
41
2
4
3
1
3 4
5 4
4 5
1 (2)
2
5
1
4
'
' 9'
'
'
'
'
'
' 9' ' '
' 9' '
'
'
'
'
'
'
'
'
' ' ' ' 9' '
'
25 14 25 14 13 25 15 14 13 25 14 13 25 15 14
(4
4
1
5
2
5
2
1
5)
3
1
4
1
3
1
5
5
2
5
2
4
1
4
4
1
5
1
5
1
3
5
2
4
1
2
4
1
3 5
1 2
5
5
2
5
2
4
4
1
5
1
3
5
2
2
5
2
4
1
4
3
5 4 3 5 4

1
1
1 1 1 2 1
'
9
'
E
EE E EE ' ' ' ' ' ' '
' 9' ' ' ' ' 9' ' ' '
G E
' ' ' 9' ' ' '
''''
1
1 1
1 1
1 1 2 1 1
1 1 2 1 2
4
5 3
5 3
4 5 5 3 4
4 5 5 4 5
25 14 15 14 15
1
1 1 1
4
5 4 5
W12
A
3 4
1 1

G
4
3
1
3
4
1
5
2
1
5
4
1
5
5
2
G
' ' !'
''
'
'
''
!
'
'' ' '
2 1
5 4
1
3
1
5
4
2
5
5
1
4
3
1
3
2
51 52 51 41 31 52 41 31
!' ' ' '
'

G ' ' ' !' '
'''
''
'
5 4
(4)
(1)
2
5
1 1
3 4
2 3
3 2
1 2 1
5 5 3
4 5
1
4

' !' '
' !'
' ''
' ''
'
'
'
'
'
3
4 5 4
1 2 1
1
3
1
1 1 2
4 3 5
5
2
5
4
1
5
2
5
1
1 1
5 4
4 3
5
5
2
4
5
1
3
4
1
2
3
1
1
3
2
1
4
3
1
5
4
2
5
5
5 (4)
5 5
2 1
1
3
2
25
!' ' ' ' 2 1 1

' ' !' ' ' ' '

' ''
1
2
5
3
1
4 5
3 4
1 1
4 3
1
3
1 (2)
4 5
3
1
4
1
5
2
5
1
52
'
' !'
'
'
'
'
'
'
' ' ' ' !' '

' ' !'
'
G ' ' ' '
' '
' ' ' ' !'
E
3
3
1
4
4
1
5
5
2
1
5
4
1
3
1
4
1
5
1
2
5
1
4
1
3
2
5
5
1
5
4
1
4
3
3
3
1
4
4
1
5
5
2
1
5
4
1
3
1
4
1
5
1
1
3
2
2
5
1
4
1
3
2
5
5
1
5
4
1
4
3
1
3
2
5
2
2
3
1
5
1
4
1
3
2
4
3
3
1
5
2
2
3
1
2
5
(4
3)
5
1
4
1
4
5
52 41 52 51 41 52 41 31 52 51 41
1
2
' !' ' ' '
'
'
' ' !' ' ' ' !' ' '

''' '' ' ' ' '
G
!' ' ' '
'
1
2
1
2
1
2
2
1
1
1
1
1
1
1
1
2
1
1

5 5 3 4 5 4 3 4 5 3 4 5 3 4 5
5
5
4
5
5
W13
41
2
4
1
3
1
3
5
1
4
1
4
4
1
5
1
5
5
1
5
2
1
2
5
1
4
2
5
1
4
3
5
1
4
1
2
4
1
3
1
4
4
1
(2)
'
!
'
'
'
'

'
'
'
'
'
'

'
!
'
G ' ' ' ' ' !'
'
'
' ' ' !' ' ' '
' '
25 14 25 14 13 25 15 14 13 25 14 13 25 15 14
3
1
5
2
1
4
1
5
1
3
1
4
1
5
1
5 4
3
5
4

2 1
1
2
1
'
!
'
'
'
'

' !' '
G ' ' ' !' ' '
'''
' ' '
' ' ' !'
' ' '
' ' '
1
1
1 1 2 1 1
2 1
1
1
1
1 1
1
1
2
254 5 13 14 15 15 3 4 5 13 14 15 15 4 5
4
5
4
5
4
5 4 5
(4
4
1
5
2
41
5)
3
1
4
1
4
4
1
5
1
5
5
2
5
2
3
5
2
4
1
2
4
1
3
1
2
4
3
1
5
5
2
5
2
3
5
4
1
4
4
5
1
5
5
5
2
1
4
4
1
5
1
3
5
2
4
1
2
4
1
3
1
'
' ' !'
'
'
'
'
'
!' ' ' ' ' !' '

'
'

'
'
'
G
' '
' '
' ' ' ' !'
25 14 25 14 13 25 15 14 13 25 14 13 25 14 13
F
5
2
3
1
4
1
5
2
1
3
1
4
1
5
2
1
3
1
4
1
5
(2)
4
3
5
4
3 5 5
5 4
4 3
5 4 3
' ! '1 '1 '2 '1 1 2 1 1 1 2 1 1 2 1
' ' !' ' '
' ' ' !' ' '
'
' ' ' ' !' ' ' ' '

G
'' ' '
1 1 1
1 2
1 1 1
1
1
2
1
1
1 2
4 5 3
4 5
5 3 4
5
3
4
5
5
3
5
5
(2)
W14
41
2
3
1
3
4
1
4
5
2
1
5
5
1
1
2'
!
'
'
'
'

' ' ' !' ' ' '
!' '
G ' ' ' ' ' '
''
'
'
'
!
'
'
' ' '
25 14 25 14 13 25 15 14 13 25 14 13 25 14 13
25 15
5
4 3 2
5
1
3
1
5
2
1
4
1
3
1
4
1
5
2
1
3
1
' ! 1' 1' 1' 2' 1 1 2 1 1 1 2 1 1 2

' ' ' !' ' ' ' !'
'''' ' ' ' ' '
G
' ' !' '
' ' '
'
1
1
2
1 1 1 1 1
1 2
1
1
1
1 1
3
4
5
5 3 4 5 3
4 5
5
3
4
5
4
25
5
2
3
4
1
3
1
2
3
1
4
1
' E'
' '
'
'
'
' ' ' ' E' ' '
25 14 25 14 13 25 15
25 15
5
2
1
4
5
2
4
1
5
5
1
5
1
31 41 52
'
' ' E'
'
'
'
'
G'
E' ' '
'
'
'
'
1
1 2 1
1 2
1 1
4
3 5 4
3 5
4 3
4
1
5
1
3
1
4
1
5
2
4
1
3
1
5
2
5
1
4
1
3
1
5
2
4
1
1
3
1
4
2
5
1
4
3
2
1
3
4
3
1
4
1
5
5
5
1
3
1
4
' E' ' ' ' '

G ' ' ' E' '
E'
'' ' '
' '
1
2
5
4
3
1
3
1
4
1
5
2
1
5
2
5
1
4
1
3
1
1
4
3
2
1
3
4
3
1
4
1
5
5
5
5
2
' ' ''

'
E' ' ' '
''
'
1
2
5
5
4
14
W15
31 41 52
' E' '
'
'
'
'
E' ' ' ' ' E' ' ' '
G ' ' ' ' ' '
''
'
E
'
'
'
' '
25 14 25 14 13 25 15 14 13 25 14 13 25 14 13
41
5
(2)
5
2
1
4
1
3
1
4
1
3
1
5
2
1
5
2
5
1
3
1
4
1
2
1
3
1
4
1
3
1
4
1
5
2
5
2
5
1
5
1
3
1
4
1
3
1
4
1
5
2
5
2
1
5
1
4
1
52
4
1
' E' ' '

' ' ' E' ' ' ' ' E'
'''' ' ' ' '

G
' '
' ' E' '
'
' '
1
1
2
1
1
1 2 1 1
1 2
1
1
1
2
1 1
5
3
3
4 5 5 3
4 5
4
3
5
4
5
4
1
1 1 1
1 2
1
1
1
2
3 4 5
5
5
3
2
4
W16
MELODIC MINOR 6THS

A
' E'
''
E' E' '
'
'
E
' E'
'
' ' ' G E' E' ' ' '
' ''
'
E
'
'
'
' ''
2
1 1 1 2
1
1 2
1 1
25 14 25 14 13
5
5 4 3 5
4
3
5
4 3
4 5
1 1
4
1
3
1
3
4
1
5
2
1
4
3
1
5
4
1
2
5
5
1
3
1
5
2
5
2
5
1
4
1
4
1
3
1
3
1
5
2
5
2
4
1
3
1
5
2
5
2
4
1
5
1
3
1
4
1
5
2
3
1
4
1
1
3
1
3
1
4
1
4
2
5
2
5
1
3
1
5
1 (1) 1
4 5 3
1 1 1
3 4 5
1
4
1
3
(1)
5
1
4
1
3
2
5
1
4
1
5
4
1
3
1
4
1
5
2
3
1
4
1
5
1
5
4
1
2
51
4
1
5
2
4
1
4
1
3
1
3
1
1
4
2
5
2
5
1
5
' 2' '

' ' ' '
'
' ''''
' ' '
G ' '''''
'' '
' ' ' '
'
1
3
1
31
5
2
1
(1)
5
1
3
4 5 3 4
1 1 1 1
5
1
5
4
1
2
5 5 4
1
3
1
4
1
E 1' 1'
E
'
'
'
' ' E' ' ' '
E
E' ' '
' E'
'E
'
G ' ' ' E'
'
' '
E
'
'
'
''
15 25 15 14 13 25 14 13 25 15 14 13 25 14 15
5
1
3
1
51 52 51 41 31 52 41 31 52 51 41 31 52 41 31
' ' '
' '''
E' ' ' '
'
' ''''
'
G
'
''
''
'' '
' ' '
'
1
5
1
3
1
4
1
5
1
3
1
4
2
5
1
5
1
3
1
4
1
5
1
3
1
4
2
5
1
5
W17
E
GE
3
1
5
1
4
1
5
1
3
4
1
4
3
1
5
4
1
2
5
5 3 4
1 1 1
2
5
1
5
1
4
1
3
5
5
1
3
4
1
4
3
1
5
4
1
2
5
5
1
2
5
1
5
1
4
1
(5)
E' '
' ' E'
'
''
'
'
'
'
'
E
E
'
E
E
'
'
'
'
'
'''
E' ' ' '
' ' ' E'
15 25 14 13 12 25 14 13 25 14 13 12 25 14 (5)1
51 52 51 41 31 52 41 31 52 51 41 31 52 41 31
''''
EE '
' '
'
' ' ' '
'''''
G
'' '
' ' ' ' ' ' '
' ' '
1
5
1
3
1
4
2
5
1
5
1
3
1
4
1
5
1
3
1
4
2
5
1
5
1
3
1
4
1
5

E' '
' ' E'
'
''
'
'
'
EEE
E' ' ' E' E'
E
'
'
'
G '''
E' ' ' '
' ' ' E'
F#
2
3
4
1
3
4
3
1
4
5
4
1
5
5
5
2
2
5
5
1
5
4
1
4
3
1
3
2
(5)
(4)
1
5
5
2
4
5
1
3
4
1
2
3
1
2
5
1
4
1
3
2
1
3
1
4
3
1
4
2
5
4
1
5
1
5
5
3
1
4
1
2
5
1
4
2
3
5 4
2 1
1
3
4
3
1
4
5
4
1
5
5
5
2
1 2 1
3 5 5
5 4
1
4
3
1
3
2
3
1
4
1
2
5
1
4
5
5
2
4
5
1
3
4
1
2
3
1
1
4
1
3
2
1
3
1
4
3
1
4
2
5
4
1
5
1
5
5
5 5
(2) 1
1
3
2
5
2
1
1
' ' ' '
'''''
EEE ' ' ' ' '
' '
'
'''''' ' ' '
G
'' ' '
1
1
5
2
4
1
3
1
1
3
1
4
2
5
1
3
1
4
(2)
5
W18
C#
EE
GEE
3
4
1
4
3
1
5
4
1
5
5 3 4 5
2 1 1 1
3
4
1
4
3
1
5
4
1
5 (4)
5 (5)
2 1
1
2
2
5
2
5
1
5
1
4
1
4
1 2 1 1
3 5 4 3
1
3
1
2
2
5
2
5
1
5
1
4
1
4
1
3
1
3
3
1
4
1
5
1
2
5
1
4
1
3
(4)
(5)
1
5
5
2
4
5
1
3
4
1
2
3
1
3
2
4
3
5
4
5
5
'
'E' E'
'
'
'
'
E' ' ' ' E' E' ' '
E
'
'
'
'
''
E' ' ''
E
'
'
'
'
5
2
4
1
3
1
5
5
2
4
5
1
3
4
1
2
3
1
3
2
4
3
5
4
5
5
5
2
4
1
2
5
3
1
' ''
EEEE '
' ' '
' ' ' '
' '''
G
''
'''
' '
'' ' ' '
'
' '
1
1
1
15 14 13 14 25 13 14 25 14 13 14 25 13 14 (2)5
3
4
1
3 4 5
1 1 2
1
4
3
1
5
4
1
5
5
2
1
9'
' E'
'
'
'
'
'
E
'
EE E ' ' ' E' 9'
E
G#
2 1 1
5 4 3
(4)
(5) 5
1 2
5
1
2
5
1
5
1
4
1
3
4
1
3
1
5
5
5
2
4
5
4
1
3
4
3
1
3
1
4
3
5
4
5
5
4
3
1
5
4
1
5 (4)
5 (5)
2 1
1
E' 9' '

'
'
'
'
' ''
G'
' ' ' E' 9'
2
5
2
3
5
2
1
E EE ' ' ' '

G E E ''''
'
'''
''
' ' '
'
1
15 14 13 14 25 13 14 15 14
3
2
3
4
1
4 5
1 2
1
3
2
1 1
4 3
2
5
1
5
1
4
1 2
3 5
5
1
2
4
1
3
1
1
3
1
4
1
2
5
4
3
5
4
5
5
52
4
1
3
1
' ' ''

' ' ''
''
'
'
1
3
1 (2)
4 5
W19
52
D#
'
E' 9'
'
'
EEEE E
'
'
'
E' 9' '
E' 9' ' '
'
G E ' ' ' ' 9'
'
'
''
' ' ' E' '
2 1 1
2
1
1 1 2 1 1 2 1
1 1 1
5 4 3
5
5
4 3 5 4 3 5 5
4
5 4
2
4
3
1
5
4
1
4
5
2
1
3
4
1
4
3
1
5
4
1
2
5 4 5 4
5 3 4 5
1 1 1 2
1
3
4
1
4
3
1
5
4
1
2
5 4 3
52
4
1
3
1
4
1
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
1
5
1
2
4
1
3
1
3
2
4
3
5
4
5
5
5
5
5
2
5
5
1
4
5
4
1
3
4
3
1
2
3
5
2
1
5
1
2
4
1
'' '
EEEE E ' ' '
' ''
' ''
''
'''
G E
''' '
' '
''
'''
''
1
1
1 2 1 1 2 1 1 1 2 1 1 2 1 1 2
4 5 3 4 5 4 3 4 5 3 4 5 3 4 5
EEEE EE
G E
A#
3
1
4
1
5
1
3
1
4
1
5
2
5
1
3 4 5
1 1 1
3
1
4
1
5
2
5 4
1 1
2
5
1
4
2
5
1
4
2
5
1
4
1
3
2 1 2
5 4 5
1
4
2
5
1
4
1 2
3 5
'
'9'9'
'
'
'
'
'
'
'
9' ''9'9'
'
9
'
'
' ''
'''
' ' ' 9' 9'
2 1 1
2
1
1
1 2 1 1 2 1 1 1 1
5 4 3
5
5
4
3 5 4 3 5 5 4 5 4
52 41
5 4 3 5 4
1 1 1
2 1
2
'
''''
EEEE E ' '
' ''
G E E ''''''
''
'''
'
''''
'''
'
1
2
1
2
2
1
2
1
1 1
14 25
1 1 1
1 1 1
1
4 5 4 3 4 5 3 4 5 4 3 4 5
3
4 5 5
25 15 3 4 5 5
4
1
5
5
3 5 5 4 3 5
1 2 1 1 1 2
4
5
4
1
3
4
3
1
2
3
5
2
1
W20
3
1
4
1
5
2
1
2
5
1
4
1
3
3
4
1
4
3
1
5
4
1
5
5
2
1
2
5
5
1
5
4
1
4
3
1
3
2
3
1
4 5
1 2
1
2
5
1
4
5 (4)
5 (5)
2 1
1
3
4
1
4
3
1
5
4
1
2
5
5
1
5
4
1
4
3
1
3
2
4
1
3
1
!' '
!
'
'
'
'
' ''
' ' ''
!
!
'
!
!
'
'
'
'
'
'''
' ''
' ' ' !' !'

G
(4)
(5) 5
1 2
5
1
4 3
1 1
5
5
4
5
3
4
2
3
5
2
4
1
3
1
5
2
1
5
1
2
1
3
4
1
52
3
1
2
5
''' '
'

' ''
G ' ''''
'''
'' '
' '
''''
'''
''
1
1
2
2
1 1 2
1 1 1 1 1 1
(2) 1 1 1
5 4 3 4 5 3 4 5 4 3 4 5 3 4 5
3
5 5
4 5
52
E
!' '
' !'
'
'
'
''
'

'
!
!
'
'
!
!
'
'
'
'

G ' ' ' ' !' ' ' ' '
' ' ' !'
1
2
1
2
1 1 1
2 1 1
2
1
1 1 1 2 1 1 2
5
5
4
5 4 3
5 4
5 4 3 5 4 3 5
2
4
3
1
5
4
1
4
5
2
1
3
4
1
4
3
1
5
4
1
2
5 4 5 4
5 3 4 5
1 1 1 2
1
3
4
1
4
3
1
5
4
1
2
5 4 3
5
5
5
2
4
5
4
1
52
4
1
3
1
3
4
3
1
2
3
5
2
1
5
1
2
4
1
3
1
3
2
4
3
5
4
5
5
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
1
5
5
1
' ' ' ' '

' ''
' ' ' ' ''
''

''

'''
G
'' ' '
'
' '
' '
1
1
2 1 1 1 2 1 1 2 1
1
1
2
1
1
2
5 4 3 4 5 3 4 5 3
4
4
5
4
3
5
4
1
5
1
2
4
1
W21
'
' !' ! '
'
'
'
'
'
'
'
' ' ' !' !'
!
!
'
'
'
'''
' ''
' ' ' !' !'
2 1 1
2
1
1
1 2 1 1 2 1 1 1 1
5 4 3
5
5
4
3 5 4 3 5 5 4
5 4

G
3
1
4
1
5
1
3
1
4
1
5
2
5
1
3 4 5
1 1 1
3
1
4
1
5
2
2
5
1
4
2
5
1
4
2
5
1
4
1
3
2 1 2
5 4 5
1
4
2
5
1
4
52 41
5
1
4
1
5
4
4
3 5 5 4 3
4
3 5
1
1
2
1
1 2 1 1 1
1
1
'
2
'
'
''' '
'
' ' ' '
G ' ' ' ' ' '
'' '
' ' '
' ' ' ' '
'
1
1
2
2
1 1
2 1 1 1 1 1 1 2
1
1
1
1
2
5
5 4 3 4 5 3 4 5
4
4
3
4
4
5
5
5
5
2
4
5
4
1
3
4
3
1
2
3
5
2
1
41 52
!' '
' !'
'
'
'

' !' '
' !' ' ' '
!
!
'
'
'
'

'

'
G
''
!' ' '
' ' ' !'
25 14 25 15 14 13 25 14 13 25 15 14 13 25 14
F
4
1
5
2
1
2
3
4
1
3
4
3
1
4
5
4
1
2
5
5
5
1
2
3
4
1
3 4 5
1 1 2
1
3
4
3
1
4
5
4
1
2
5
5
5
1
52 41 31 52 41 31 52 51 41 31 52 41 31 52 51
' ' ' ' '
' ''
' ' ' ' ' '
''

'''
G
'
''''
''
' ' '
'
1
1
1
14 15 25 13 14 25 14 13 14 25 13 14 25 14 25
3 4 5
3 4 5 5
5
(4)
W22
31 41
C
!'
' !'
'
'

'
'
'
'
!' ' ' !' !'
G ' ' ' ' ' !'
'
'
'
' ' ' !' !' 2 1
25 14 25 15 14 13 25 14 13 25 15 14 25 14
5
1
2
3
1
3
4
1
4
5
1
5
3
1
3 4 5 2
4 5 5 3
1 2 1 1
1
3
4
1
4
5
1
(5)
4 3 2 5
4
1
5
2
4
1
3
1
1
3
1
4
2
5
5
5
2
4
5
1
3
4
1
2
3
1
1
4
3
1
3
4
1
4
5
1
5
5
5
2
4
1
3
1
1
3
1
4
2
5
5
5
2
4
5
1
3
4
1
2
3
1
1
4
3
1
3
4
1
4
5
1
5
5

'
'
5
2
1
3
5
2
' ' ' ''

' ' ' '''''' '
'''' ' ' ' ' '
G
' ' ' ' '
'
1
1
2
2
1
(4)
41 52
'
E
' !' '
'
'
'
'
'
'
'
E' ' ' !' E'
!
'

'
'
' E' ' ' '
G ' '
' ' ' !'
25 14 25 15 14 13 25 14 13 25 15 14 13 25 14
G
4
1
5
1
3
1
4
1
5
2
4 5
3 4
1 1
2
5
1
5
5
1
3
1
4
1
5
2
5
1
' 1' 1' 1' 2 1 1 2 1 1 1 2 1 1 2

' ' ' ' ' ' ' ''

' ' ' '''''' '
'''' '
G
' '
14 15 25 15 13 14 15 13 14 25 15 13 14 15 (4)1
5
2
W23
41 52
'
!' E'
' '
'
'
'
'
'
'
'
E
E
'
'

'
!
!
'
'
G ''' '
' '''
E
'
!
'
'
'
'
(2) 1
1
2
1
1
2 1 1 1
2
1
1
2 1
5
4
3
5
4
3
5 5 4 3
5
4
3
5 4
D
4
1
5
1
3
1
4
1
5
2
5
1
3
1
4
1
5
1
3
1
4
1
5
2
5
1
52 51 41 31 52 51 41 31 52 41 31 52 51 41 31
' ' ' ''
' ' ' ' '''''
''''' ' ' ' '
G
'' ' ' ' '
'
15 14 25 15 13 14 15 13 14 25 15 13 14 25 15
14 15
W24
A P P ENDI X 9:
S IX F UNDA ME NTA L
PRI NC IP L E S OF T RA I NING
Schmitzs Six Fundamental Principles of Training (The Capture of Inspiration, 1935)
remain unique in the annals of pianism, not only as specific fundamentals of a rational methodology but as movement fundamentals for the pianist. That is, they constitute a set of basic actions for all movement in keyboard space. At the same time, they
introduce, propose and set forth a vocabulary for an analysis of that movement, to
enable communicating and comprehending the requisite keyboard actions and their
kinesthetic dynamics in a more precise, direct manner.
They are truly fundamental in that, once mastered, the foundation is laid for
their eventual compounding1 (into ensembles of coordinated actions) as well as
further application and developmentthereby surpassing the initial, seemingly limited, purpose of training. What follows is a brief overview of these Fundamental
Principles in Schmitzs own words (italics).
I.
II.
III.
IV.
V.
VI.
Articulation: . . . one of two principles for the training of the muscles controlling
the smallest units . . . to associate tone production with the flexion or prehensive
action. . . .2
Slap (known as Lancer in French): . . . the second of two principles for the
training of muscles controlling the movements of the smallest units . . . to associate
the production of tone with the release of weight resulting from muscular
relaxation. . . .3
Modeling: . . . one of two principles for the appraisal of material forms that result
from the numerous possible groupings of keys at the keyboard, and the memorizing
of them by sensorial perception of the various shapings of the hand. . . .4
Adjustments: . . . the second of two principles of training for the mastery of
forms [. . . that ensemble of interrelations between several keys grouped
together] . . . the stretching over distances will be replaced by moving
accurately over distances, thus liberating the hand from strain. . . .5
The four basic (standard) types are:
1 . . . all motions within vertical planes perpendicular to the longitudinal axis of
the keyboard
2 . . . all motions within horizontal planes parallel to the surface of the keyboard
3 . . . only in and out motions
4 rotation . . .includes motions of the forearm . . . humerus and scapula6
Arm Shift: . . . one of two principles for training the muscles controlling the
movements of the larger units . . . to individualize and give utmost efficiency to the
muscles causing elevation and depression of the upper- arm and those causing flexion
and extension of the forearm.7
Arm Release and Retraction: . . . similar to that of the principle of Arm-shift,
in its ensemble but . . . is quite the opposite . . . orients its motions up and down
alternately against, and then with, the direction of the pull of gravitation . . . trains
the lift which is opposed to gravitation and the drop which is the product of
gravitation.8
NO T E S
1.
2.
3.
4.
5.
6.
7.
8.
E. Robert Schmitz. The Capture of Inspiration (New York: Carl Fischer, 1935), chap. 20.
Ibid., 70.
Ibid., 72.
Ibid., 75.
Ibid., 78.
Ibid., 7880.
Ibid., 84.
Ibid., 90.
A P P ENDI X 10 :
TE C HNI C A L A S PE C TS OF
A NAT URA L PI A NI SM
A . A LIGNM E N T A N D T HE H A ND AT TH E KE YBO A RD
All coordinated playing movements at the keyboard are dependent on the proper
alignment and the requisite complementary rotational and directional stresses of
the skeletal structure of the hand and arm for their efficiency. Without these, a biomechanically efficient and healthful functioning of the playing mechanism cannot
proceedhowever correct the position of the head and the posture of the body
(upper and lower torso) itself.
This said, alignment is not static. It is dynamic, occurring within the context
of specific movements and the confines of space.1 Correct skeletal alignment is indispensable not only in establishing a movement base or center but in effectively harnessing the force of gravity (its downward pull) and maximally benefiting from a
muscles length of action, as close to a straight line as possible.2 Without full consideration of alignment and stability throughout its entire kinetic chain, conclusions
vital to enduring and healthy use of the pianists playing mechanism will fail to be
drawn.
The natural role of ligaments, tendons, fascia, cartilage and joint structure, not
to mention any actions and counteractions of the muscles themselves, are not to
be overlooked or discounted in regard to the issues surrounding stabilization of the
playing mechanism. But the mechanics of piano playing is fundamentally about
movement at the keyboard, and the movement dynamics of the entire skeletal system tends to both rotation and stabilization for locomotionfor reorientation and
repositioning in space. Proper alignment is essential to both harness and resist
(counteract) gravitational force or pull efficiently and effectively.
It is essential that the correct placement (positioning) of the hand be attended
to as early as practicable. When placed at the keyboard, poised and positioned for
movement, the hands functional structure (form follows function) should be
respected. This approach is the very opposite of one based on the claim that its structure is not naturally suited to the keyboard and that it is in fact an obstacle to a natural approach to the keyboarda view that unfortunately still persists. If the
physiological functions and anatomical structure of the hand (as an extension of the
arm) are fully considered, application of this knowledge to pianism is a relatively
simple matter. Only congruous resolution of topographical and spatial influences
remains then to be done: a synthesis of their impact on the playing mechanism and
the movement of the key itself.
What must first be taken into account, therefore, is the relationship of thumb to fifth
finger as it is naturally reflected in the anatomical and physiological structure of the
hand. This natural relationship of thumb to fifth is best seen and most easily demonstrated when disengaged from any key contact and uninfluenced by any attempts to
set the key in motion.
From a gently closed fist, open the hand, palm down, with long fingers extending
but back of hand (proximals and metacarpals) remaining in line with the top of the
forearm (first joint of thumb remains slightly flexed, and any tendency toward extension is avoided). This natural structural relationship is maintained as the hand is then
carefully transferred to the keyboard. In contrast to an all-white-key five finger pattern, the Fundamental Patternand later, its core topographical alterationsoffers
the best orientation for this.
With the long fingers then flexing (their first joints, or terminal phalanges, should
not exceed a 90 degree (right) angle; those of the second and fourth fingers are then
vertical at the very edge of the black keys), the thumb is assigned to the edge of the
white key. The relationship of the first joint of the fifth finger remains diagonal to the
thumb; its placement, therefore, is not on the white key edge but closer to the black
keys.3 The position of hand and arm are subtly adjusted so that the second finger is
aligned with the radius (radial axis), the third finger with the center of the forearm
(the length, or longitudinal axiswhich is not a skeletal axis), and the fourth with
the ulna (ulnar axis). The medial or inward rotation of the humerus, essential for
a correct pivoting action and countervailing dynamic shoulder joint stabilization, is
the inevitable, beneficial result.4
Ongoing maintenance of this inward rotational action, albeit on a continuum
that is, in varying degrees depending on location and functionis essential for the
proper functioning of the playing mechanism in keyboard space.5 Muscular control
for dynamic support at the base of the second-third and fourth-fifth knuckles (metacarpal-phalangeal joints) is also essential. The opposing action of the thumb, along
with the flexing action of the first joints (terminal phalanges), provides anchorage6
for the full playing mechanism at the distal end.
The knuckle joint of the second finger may be likened to a keystone since it is the
key to eliminating any tendency to its overcontraction, or that of the hand as a whole.
Strength, flexibility and proper alignment of the entire hand in its engaged, pronated
relationship to the keyboard cannot be achieved without this control. The pianists
playing movements must ultimately be geared to contacting the key and setting it to
motion within its own vertical plane: they are in the direction of gravitydownward.
The detriment of such overcontraction is really quite obvious when one thinks about
it. Apart from being a factor in initiating unnecessary muscular spread (Ortmann),
the fingers are in fact pulled away from the key. Action is in conflict with intent; good
key contact is problematic, if not impossible.
Any overcontraction manifested at this joint usually indicates a compensatory
attempt to stabilize the action of the fingers in the absence of the more efficient,
coordinated and inclusive biomechanical counteraction (dynamic stabilization of the
upper arm is a counteraction) referred to above and discussed in more depth below.
If in this state key contact is to be somehow maintained, a relatively fixed overextension of the finger is the inevitable result, precluding greater degrees of flexion by
definition. The etymology of the words flexion and flexibility should not be lost in
reevaluating and properly establishing the full complement of flexing actions as they
apply to a pianists movements at the keyboard.
Here it should once again be emphasized that, in this regard, the term dynamic
(action) denotes muscular activity that does not result in change of position. Rather,
such contraction is enlisted to maintain position in space or in contravention of
movement that does not duly serve the job at hand. Likewise, fixation in the joint(s)
of the next or neighboring limb or joint area does not by itself sufficiently or efficiently support movement of the entire mechanism throughout the various ranges
of the keyboard. Such a practice remains a vestige of older technical approaches
focusing mainly on fingers, hand and forearm.
Except in executing broken octaves and tremolos, outward/outer (lateral) rotation of
the humerus is symptomatic of misalignment; with this, key movement in its vertical
plane can not be advantageously accomplished. In properly placing the hand on the
keyboard (best done in the keyboard range accommodating the natural, anatomical
position7 at firstat the arms midline), one feels an equal distribution of weight/
mass in all fingertips; the absence of this is further evidence of misalignment.8 The
upward action of the spine and the downward action of the legs and feet complement
this very cursory overview of the dynamics of an alignment network, so to speak. An
easy check is (1) the diagonal relationship of the thumb and fifth on the white keys,
and (2) the positioning of the second finger/radius on a diagonal to the elbow, which
does not roll under or is not allowed to drop toward the torso. Functional placement of the forearm is in the horizontal plane, and rotational stresses are in the
direction of pronation, but with counterrotation of the ulna.
Corresponding inward humeral rotation (the pianist should feel both distal and
proximal ends rotated inwardly) supports this alignment, as well as the upper arm in
its role as primary stabilizer for the actions of the lower arm (forearm, hand and fingers). Throughout the keyboards range, five or six (opinion varies) of the largest and
most important muscles of the upper torso collaborate in implementing and maintaining this inward rotation.9 And according to Gray, twenty-four muscles are attached
to the humerus alone!10 This inner rotation counteracts any tendency toward biomechanical destabilization, otherwise manifested in an uncontrolled, reactive outward
rotation or passive (equals absence of ability to appropriately respond) release and
consequent rolling out of the upper arm.
Proper and adequate shoulder complex (shoulder girdle plus humerus, or upper
arm) stabilization results in a sense of increased security. Potential for strength is
readily evident. The promise of natural, efficient movement and application of force
is keenly sensed throughout the entire kinetic chain of the pianists playing mechanism. Again, psychological security has its very deep counterpart in biophysical
security and comfortas Schmitz wisely pointed out.
For the development of the hand and its knuckle bridgeso necessary to successful
deployment of the fingers with their various touch formsthe cross-tension principles and actions as uniquely laid out by Schmitz in his discussion of Modeling11
remain unsurpassed. This basic training fundamental, first applied to the Fundamental
Pattern and later to the core topographical patterns deriving from it, is not beyond
even the elementary-level student. But it is indispensable as the student advances,
when appreciation of the hands complex musculature and its proper control is
absolutely essential. The action dynamics of the cross-tension application are of
enormous benefit. When specifically applied (as modeling) to any unusual, seemingly awkward topographical or fingering combinations encountered in passagework,
extraordinarily heightened sensorial contact, recognition and retention are the
remarkable results.
Strength through flexibility was Alice Pashkuss chief and constant byword, and
there is not an element of biomechanically sound technique that does not manifest,
provide for, or develop it. Cross-tension modeling is the outstanding exemplar of this
principle at work.
B. T H E PI V OT IN G A C T IO N
The movement ensemble of thumb-under pivoting should bear great scrutiny and
thorough analysis. It is in this that the student may be most likely to lose his or her
connected sense to a dynamically stabilized upper arm and its prime role in negotiating keyboard space.
As advanced in Part IV, the basic principles and movements of thumb-under pivoting are best introduced, practiced and developed from the Fundamental Pattern
before applying them to the complete diatonic scale patterns, in which a grounding
in the hand-over-thumb action should be first secured:
1. Pivoting of the hand over the thumb followed by retraction, reposition and
prehensile articulation of the thumb for each succeeding pivoting action in
scale and arpeggio movements toward the torso.
A finger on a black key immediately following the thumb on a white key is most
efficient, since less movement is required horizontally for finger distribution,
and vertically to adjust for key depth.
2. Oblique movement of the thumb (under) toward the (metacarpophalangeal)
bases of the fourth and fifth fingers (ulnar opposition).
This diagonally flexing action of the thumb is coordinated simultaneously to the
action of the succeeding finger. In scale or arpeggio patterns moving away from
the torso, for example, this action immediately follows playing the second finger.
The action is close to the key and best practiced maintaining contact with the
key surface. Otherwise, elevating the thumb encourages a counterproductive
supination of the forearm.
It is important that the mechanical advantage of finger action in the vertical
plane as well as a full sense of the role of the shoulder joint regarding
curvilinear movement and dynamic stabilization of the upper arm not be
sacrificed or compromised. Everything must be done to constantly develop and
preserve this working awareness of the playing mechanisms entire kinetic
chain, from fingertips to the (lower) tips of the shoulder blades.
3. Complementary (to the thumb), corresponding flexion of the first (terminal)
joint of the pivoting finger.
This flexing action is the prime component of Schmitzs Articulation
(see Appendix 9). In Compound No.1: Articulation with Weight12 the arm
mass is elevated and displaced forward, its weight poised over the finger
tip for subsequent release. The operating principle is that of a rise and
fallelevation and releaseof weight. All rotations are complementary or
adjustive.
4. Simultaneous, synchronous curvilinear rotations (circumduction) of both the
thumb at its radial (metacarpal) base and the pivoting finger on its respective
axis (second, third and fourth: radial, length, or ulnar) as manifest in the
knuckle (metacarpophalangeal) joint.
These full rotations are controlled composites of action and reaction, of
contraction and release.13
5. Follow through inward rotations of the humerus (most noticeable beyond
the second and third fingers), which are both action and reaction.
6. Active rotation of the humerus further inward (beyond the fourth and fifth
fingers) in conjunction with lateral adjustment at the wrist of the hand to
forearm.
These movements properly align the lower arm mechanism and enable
positioning the thumb most efficiently for subsequent action.
The following procedure is suggested for a more thorough and progressive step-bystep introduction to the pivoting action of the thumb and hand as it is specifically
applied to scales, and later arpeggios and other extended passagework.
1. Lightly depressing the keys of the Fundamental Pattern, one releases the
thumb to diagonally traverse the surface of each successive white key until it is
placed slightly before the first (nail) joint of the fifth finger (see section A
above). This should be done with the first joints of the fingertips (2-3-4) gently
flexing the edge of the three black keys, and without elevating the shoulder. The
second and third fingers may be released sequentially to accommodate this, but
the fourth and fifth fingers should maintain their contact with the keys. With
the humerus inward, the weight/mass of the arm is felt to shift from finger to
finger as the thumb rotates from its metacarpal base and flexes further toward
the ulnar side. This may later be done with the fifth finger placed on the nearest
black key (LH: E-flat and RH: C-sharp) or the thumb diagonally traversing past
the fifth finger to the next white key. The humerus must rotate further inward
for each white key beyond the fifth fingeran excellent and effective
demonstration of the essential role of the inward rotation of the humerus in
the pivoting action of the thumb.
The playing action of the thumb develops from this oblique (oppositional)
flexion.14 Developing it beyond the fourth finger enables the student to
experience maximal muscular contraction, the release of which (reposition15 ) is
essentially its basic playing movement in thumb-under pivoting. This is not an
exclusively vertical action (at a right angle to the keyboard), as has been
erroneously considered and at the bottom of most of the fallacious theory and
unsatisfactory advice regarding the correct approach to thumb-under
pivoting.
2. With palm upward, the student readily identifies the most comfortable
movement of the thumb to be in the direction of an oblique, diagonal
relationship of thumb and fifth finger, as opposed to one that is closer to the
horizontal.16 This orientation is then simply translated with palm downward in
contacting the key. From there the key is mainly set in motion by releasing the
contractions of a now slightly elevated thumb, supplying the initial (ballistic)
momentum and force for the downward action of the key. This release may be
further augmented or intensified by pronation.17
Put at its simplest, this directed release (reposition) of the thumbs pivoting
action is initially a locating (distributive) action. On a smaller scale but
occurring in the oblique plane, the principle remains that of retraction (which is
also contraction) and release, the one complementary to the other (see
Appendix 9, sections II and VI). The thumbs playing movement, its dynamic
action, is essentially that of reposition potentially reinforced by pronation.
3. Because all of the long fingers are assigned to the shorter, elevated black keys,
all notes in the range of the Fundamental Pattern are ideal for the progressive
pivoting action of the thumb from second to fourth fingers and beyond.
The increasingly larger intervals allow evolving sensitivity to the appropriate
movements involved as well as requisite alignment and collaborative
stabilization. The facilitating role of the thumbs pivoting action in the
transfer and concentration of the arms mass/weight effecting the shift of its
center of gravity is readily experienced in the palm of the hand. Its key
participation in the playing mechanisms total gestalt is easily and convincingly
demonstrated.
C . L IN ES O F A C T I O N A ND C URV ILI N EA R PAT HS OF MO V EM ENT
Although an in-depth, comprehensive discussion of playing mechanism alignment
and movement curves cannot be within the scope of the present work, it is important
to note that the relative finger lengths naturally comport with the pivoting action in
curvilinear lateral adjustments (circumduction) of wrist to forearm. The requisite
curvilinear movement traverses, or shifts along, the respective axes according to
function. This is especially important in matters of neutralization of key length and
depth, establishing and maintaining a vertical plane for key action and retraction,
correct alignment for finger articulation, and facilitating planar shifts (arm forward
and backwardin and out) for legato connection. Curvilinear movements are, in
fact, multiplanar.18
Curvilinear movement occurs on each axis, and from one to another.19 Movement
curves graphically represent paths of the playing mechanisms movement sequences.
Though enormously valuable as applied imagery,20 their value in movement analysis
is unsurpassed. Kinematic representations of well-coordinated movements differ
noticeably and dramatically from those that are incoordinate. Ideally, appropriate
fingering choices effectively balance, coordinate and alternate movement along these
axes.21
This representation of the relative relationships of the fingers of the hand to
their respective axes may be viewed as LH palm upward or RH palm downward:
Longitudinal (length) axis
3
Radial axis
Ulnar axis
4
5
Transverse (oblique) axis of opposition
(See section D)
1
D. L ATE RA LLY O BLIQ U E M O V EM E NT: T H E T RA N SV E RSE A XIS
With proper alignment (this includes hand placement as developed above) and
dynamic stabilization of the shoulder joint/shoulder complex, the playing mechanism
of the lower arm and hand naturally tends toward stabilization from this.22 Freedom
and control as well as strength and flexibility are the natural benefits. Opposition
of thumb to fourth and fifth fingers is the key to this as regards the choice of
fingering.
These opposing movements occur along a transverse axis, in a plane that
is horizontally oblique to the arms length axis as represented by the third finger.
Laterally oblique best describes this action occurring in conjunction with lateral
adjustment of the hand at the wrist, which is necessary for optimal alignment of
fingers to forearm. In this adjustment, the vertically oblique plane and any movements within it (pronosupination, for example) are eschewed.
The complementary actions of the thumbs opposition23 in this laterally oblique
plane coordinate with the articulating, flexing action of the fourth and fifth fingers.
The thumbs rotation takes place at the base of its metacarpal at the wrist; flexion and
circumduction of the fingers synchronize with the other rotations in the kinetic
chain. A spiraling of muscular activity further supports and helps stabilize the skeletal structure of the lower and upper arm.24 These specific actions are an integral part
of coordinated, efficient movement of the arm and its components in piano playing.
E. DYNA MIC STA BI LI ZAT I O N O F TH E SH O ULD ER J O INT/
SHO ULDE R C O M P LE X
The upper arm is the primary unit for control of the pianists playing mechanism.
It is the fundamental motive power of the whole arms mass and the chief agent for
distributing its weight to the keys for tone production. The dynamics of its movement and the transmission of force involve the entire upper torso and its counterpart, a well-grounded lower torso. Movement and control is from center to periphery.
Both strength and flexibility are required to enable stability and mobility.
As the primary motor and functional link in the kinetic chain of the entire arm,
from shoulder blades to finger tips, the upper arm must be stabilized for effective
movement at the keyboard. As a general principle, stability must precede mobility, and
the dynamics of upper arm (humeral) stabilization play a key role. Movement of the
humerus takes place in the shoulder (glenohumeral) joint, and the mechanism for its
control resides in the musculature of the shoulder complex (scapula, clavicle and
humerus).25
The arm is unique in that, with the aid of joint articulations of the upper torso, it
is capable of the widest range of movement the body allows. Being a ball-and-socket
joint like the hip, the shoulder joint permits vertical, lateral and oblique (rotational)
movement. This capability for movement throughout the three planes is reflected in
the curvilinear movement (circumduction) of the upper arm. Quickeven abrupt
and efficient changes of direction are thereby facilitated in addition to the full spectrum of variations in application of force. Unlike the structure of the hip joint, which
favors stability and mobility, the structure of the shoulder joint favors flexibility and
mobility.
Stability is therefore not a distinguishing factor in the skeletal structure of the
shoulder joint itself but is to be found in the shoulder girdle/shoulder complex and
the functional dynamics of its muscles, ligaments and tendons. The force exerted by
gravity also plays a unique role, one that is highly advantageous to the pianist.
Coordination and synchronization of these cooperative and complementary patterns
of action26 (scapulohumeral rhythm) cannot be ignored if movements of the lower
arm and extremities are to be biomechanically efficient and pianistically useful.
Except for superfluous gesturesfor the sake of theatricality, effect (as opposed
to affect), or in the nature of personal flairthe pianist, unlike a violinist or even
an organist, has little or no need for shoulder elevation. In itself, this is a distinct
advantage; the dynamics of shoulder joint (glenohumeral) stabilization are immensely
simplified. A wide playing range, the need for forward and back (in and out) and laterally oblique adjustments, horizontal distribution of the fingers for vertical application of force/power and continuous changes of location are among the demands
encountered by a pianist in negotiating keyboard space. The need for shoulder joint/
shoulder complex stabilization is therefore constant. But any stabilization must
necessarily be dynamic not fixed. That is, the requisite stabilizing forces act on a
continuum and are calibrated according to functional necessity. Timing, magnitude
of effort and duration of application are important variables.
The complementary, synchronous actions of the shoulder complex are especially
important: a backward, downward and (dynamically countervailing) inward action of
shoulder blades, forward counteraction of the sternum and lateral expansion of the
clavicle,27 as well as the pull of the upper arm.28 (Alignment of ears, shoulders and
hips is optimal.) The hands own complementary activity, its prehension, at the distal
(keyboard) end of the playing mechanism results in a condition akin to the suspension of a bridge. What may be called residual tensionunnecessary sympathetic
contraction preventing the full effect of otherwise complete, complementary
actionsis absent or negligible.
The game tug of war is illustrative of this dynamic. Opposing forces, if equalized (counterbalanced), result in a taut suspension, an equilibrium that can be maintained only by the prevailing counteractionsthe prevailing dynamic. Once the force
is increased or decreased on one end without a commensurate counteraction on the
other, suspension is lost. In regard to the playing mechanism, the result is loss of
control, even if only temporary. But it also very much lies at the bottom of those
dreaded moments whenas with other issues of security, such as memorization
or concentrationthe performer is visited with a fear of losing it.
The body, however, will nevertheless instinctively seek to compensate in some
way for this loss of biomechanical stabilization and, therefore, reestablish control
or some sense of itto some degree. But without conscious, skillful reestablishment
in a coordinated, efficient, dynamic manner at the moment of destabilization, the
pianist remains handicapped in his or her ability to efficiently harness the forces
necessary for power and control. Moreover, the advantage of optimum flexibility for
subsequent adjustment is severely compromised. A heightened topographical and
topological awareness is essential for properly and sensitively assessing stabilization
requiremets.29
NO T E S
1.
The pianist must keep in mind that to be maximally effective, movements in space require
maintaining specific skeletal relationships despite change of location and application of
varying degrees of force. Movements of the most skilled dancers are the best and most
convincing examples of such coordination, awareness and control. The relationship of
humerus and ulna to the other joints must be such that proper alignment is maintained
during execution of all movement in keyboard space. It is therefore a movement shape that
is translated and transformed throughout that space. Stability for well-coordinated
execution of limb movement must be accomplished throughout this translation. The
humeroulnar connection is particularly vulnerable to excessive pronation and unnecessary or
exaggerated rotary movements of the forearm (pronosupination).
2.
3.
4.
5.
6.
7.
8.
9.
10.
Yochanan Rywerant, a teacher of physics whose work is endorsed by Moshe Feldenkrais,

writes: If two or more bones are conjoined in transmitting force then the alignment of the
joints becomes of crucial importance. Obviously, when the joints connecting the bones are
nearer to a straight line in the act of transmitting force, the muscular effort needed to
stabilize these joints is smaller. When joints are aligned straight, all effort is, in principle, at
zero, the force being taken over by the bony structure itself rather than the muscles.
Rywerant, in The Feldenkrais Method (San Francisco: Harper & Row, 1983), 6667.
A photo of Ludwig Deppes basic (normal) hand position that appears on page 16 in
Breithaupts Die natrliche Klaviertechnik is particularly noteworthy: a reproduction from
Elizabeth Calands Die Deppesche Lehrer des Klavierspiels advocates the fifth finger in this
diagonal relationship to the thumb, although the hand is otherwise significantly misaligned
to the forearm (in radial deviation). However, in this detailed discussion of the varying
positions of the hand and its forearm alignment as advanced by the then-current schools
of piano playing, Breithaupt also presents two other interesting photos. On page 14, one
depicts this diagonal relationship of thumb and fifth, but with radial, length and ulnar axes
of the other fingers properly aligned; it is pronounced gut (good). But on page 13, another
depicting ulnar deviation is schlecht (bad).
A photo in Piano, a contributed section by Carola Grindea, clearly comports with this view.
For Figure 10a: Correct . . . resulting in a better position of wrist, elbow and shoulder; thus
the arm moves with complete freedom in all directions (emphasis added). Winspur and Parry,
The Musicians Hand, 30.
It is not possible to fully release, or drop, the upper arm while maintaining a countervailing
medial (inward) rotation of the humerus. Upper arm movements, including those involving
downward application of weight or force, remain active; in piano playing, the upper arm
should never be passive.
Anchorage is a term used by Thomas Fielden: simultaneous collaborative actions providing
coordinated support at both torso and keyboard ends is referred to as double anchorage.
For Schmitz, such action at the distal end is provided by articulation with weight or
included in the role of motor fingers (double notes, for example).
Anatomical position is generally viewed as a standing position from which the planes of the
body are considered, but portrayals or descriptions of the arms position at the side of the
torso vary. With significant implications as to the rotation of the humerus, the palm of the
hand may be facing inward, front or back. However, Nicholas Goddard has determined that
the normal resting position of the humerus is in 30 degrees of retroversion (internal
rotation) . . . [and] normal humeral torsion . . . explains the usual resting position of the arm
in approximately 15 degrees of internal rotation. Tubiana, The Hand, Vol. IV (Philadelphia:
Saunders, 1993), 627. And Blandine Calais-Germaine: The resting position of the
[glenohumeral] joint (i.e. allowing maximal relaxation of the ligaments) is where the arm is
in slight flexion, abduction, and internal rotation. Anatomy of Movement, 113.
Alan Fraser recounts: At one point in my Feldenkrais training we did a series of lessons
designed to free up movement in the shoulders. Before these lessons most of us stood with
palms facing inwards. But by the end almost all of us were standing with our thumbs aligned
along our pants seams, palms pointing to the rear . . . it was through a cessation [emphasis in
original] of involuntary physical effort that we were able to do it! . . . one of the central pillars
of [Matthays] system is based on a misperception. The Craft of Piano Playing, 4849.
Torso flexion also rotates the humerus medially and depresses the shoulder girdle; this is
easily demonstrated and observed by palpating the humeral head and scapular (shoulder
blade) wings or clavicle (collarbone). It therefore qualifies as an important forward adjustive
movement. In addition, the ability of the torso to rotate laterally on the hip axis permits
spatial adjustment obliquely, in conjunction with a counteractive grounding of the lower
torso as may be required by keyboard location. Forearm rotation and hip axis rotation are the
chief means for the pianist to negotiate and adjust within a vertically oblique plane (the
space bounded by the intersection of the horizontal and vertical planes). The movement
capabilities are also similar, in that the hip and elbow joints can each simultaneously
function as a hinge joint.
Grays Anatomy, 149. And Mabel E. Todd informs: Nearly every bone in the trunk, from
occiput to pelvis, furnishes surfaces for the attachments of muscles which are also attached
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
to some portion of the shoulder apparatus, either on various surfaces of the scapula or
immediately about its joint with the humerus. These shoulder and arm muscles extend in all
directions. . . . It is this wheel-like arrangement of lines of muscle force through all planes
[italics added] which gives enormous power to the arms and hands. The Thinking Body, 148.
See Appendix 9 on his Six Fundamental Principles of Training.
Schmitz, The Capture of Inspiration, 9697.
Ortmann: All movement generated by motion at a single joint is curvilinear. Physiological
Mechanics of Piano Technique, 76.
John Napier: The neutral position of the thumb (analogous to a gear-lever in neutral) is
taken as the starting point for a description of the movement of opposition. . . . [The thumb]
angles from the palm, as the muscles spring into actioninto gear, as it were. Once in gear,
it moves ulnarward with a movement of flexion and rotation; the more it flexes, the more it
rotates until it comes to a full stop in full opposition. Hands, 56.
In their dialogue, Walter Krause holds that the contrary movement [to opposition] occurs in
returning to the plane of the back of the hand and is called reposition. . . . There is a
compulsory component of rotation in opposition; and Paul Pichier adds: So, when we speak
of opposition of the thumb, we mean it more literally than the anatomists. We must think
of the combination of the so-called opposition with the highest degree of rotation from the
rest of the hand. When we move the thumb in the large circle of circumduction towards the
basal hollow of the fourth finger, the thumbnail must be turned practically horizontally
downwards in the final stage of this movement. The Pianists Touch, 8789.
Ortmann, 253.
The complexities of the thumbs movements have given rise to substantial problems of
terminology, particularly in the face of attempts at precise analyses. Raoul Tubiana presents
an in-depth discussion of the challenges encountered, as well as recounting his own
resolution of the problem of the thumbs functional terminology, in The Hand, Vol. 1, 6772.
He also tells us that the complexity of these movements explains the confusion in
terminology . . . that in the presence of these difficulties . . . authors avoid the use of
traditional terms. Frank R. Wilson subscribes to Tubianas usage in his own The Hand,
136138.
Ortmann, 29.
Cynthia Norkin and Pamela Levangie, Joint Structure and Function (Philadelphia: Davis,
1990), 56: All human movement must occur at joints, and most motion at a joint occurs
around a joint axis. The production of rotatory motion would appear to be a primary function
of the musculoskeletal system. . . . Curvilinear motion can also be produced when rotation
around a joint axis is accompanied by a sliding of bony surface. This combination of rotation
and sliding results in a moving axis and in curvilinear motion. This is probably the most common
form of motion assumed by a joint (emphasis added). Circumduction is in fact four actions
circumscribing a curvilinear (circular, conical, elliptical) path. From this standpoint,
rotational stress (Matthay) can be seen as an important agent in ongoing transmission of
the arms momentum force in its ensuing swing away from the torso, from one finger to
another.
I have had the good fortune on several occasions to serve as collaborative pianist for ballet
and partnering classes conducted by Kenneth Laws. On one of them in particular, in
response to comments and inquiries about the value of certain kinds of imagery in
movement Ken maintained that any recourse to imagery must be to one that is physically
based to be truly effective. He is the author of Physics and the Art of Dance (New York: Oxford
University Press, 2002).
For example: 1 and 4 coordinate on WB, providing topographical conformity as well as
equilibrium and radio-ulnar stability via their counteractionsa natural synthesis of
biomechanics and keyboard topography.
Norkin and Levangie in Joint Structure and Function: The design of the radioulnar joints
enhances the mobility of the hand. . . . The mobility afforded the hand is achieved at the
expense of stability because the movable forearm is unable to provide a stable base for the
attachment of the wrist and hand muscles . . . the entire upper limb is geared toward execution
of movement of the hand (italics added for emphasis), 207 and 244.
Reposition is its opposite action.
24. Santoshi, one of my yoga teachers, often uses the term bonify to refer to this activity. Dora
Zaslavsky (my graduate piano studies were with her) would make reference to more bone as
useful imagery in a similar though not identical sense. See Anatomy Trains by Myers,
159172.
25. The only two bones with which the scapula makes direct contact (with which it articulates)
are the collarbone (the clavicle) and the upper arm bone (the humerus). This places the
scapula in an extremely strategic location, at the center of the only bone-to-bone contact
between the arm and the rest of the body. Wilson, The Hand, 1999), 68.
26. See Norkin and Levangie, 178179.
27. This is very useful and effective imagery. Space is created and the sensation is one of
expansionthe opposite of muscular contraction or structural (skeletal) compression.
28. See Abby Whitesides pull (Indispensables of Piano Playing) and Liszts brachial pull as put
forth by Bertrand Ott (Lisztian Keyboard Energy). E. Robert Schmitzs Arm Release and
Retraction is the key to its exposition and indispensable to its further development. See
Appendix 9, VI.
29. Ortmann: The chief geometric characteristic of piano technique is change in the direction of
motion. And physiologically this probably constitutes the biggest problem of technique. 78.

Apendices (Natural Fingering)

Enviado por

Dados do documento

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Apendices (Natural Fingering)

Enviado por

Direitos autorais:

Formatos disponíveis

Verbalis, Natural Fingering, Appendix 1

'' ' ' '

' ' ' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 1

'' ' '

' ' ''

' ' ' ''

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 1

'' ' ' '

' ' ' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

E' E4' 1'

' ' E' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

E' ' '

' ' E'

' E' '

E' E' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

' 9' '

' 9' '

E' 9' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

' ' 9' '

' ' 9'

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

9' 9' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

'' ' '

!' ' '

' !' !'

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

' ' !' '

' !' !' ' '

' ' ' '

' ' !' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

!' !' '

!' E' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

' ' '

!' E' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

MELODIC MINOR SCALES (HYBRID FORM)

' !' !' ' '

Copyright 2012, Oxford University Press, Inc.

Verbalis, Natural Fingering, Appendix 2

''' ' '

E' E' ' '

EEE '3 !2' !1' 3' 2 1 4 3

' 2' 1' 4' 3' 2 1 3 2 1 4 3 2 1 3

' 3' 2' 1' 3 2 1 4 3 2 1 3 2 1 3

' ' ' ' '

' ' ' ' '

' ' ' '

' ' ' '

E' ' E' '

1 '1 ' 1 '1 '4 3 2 1 4 2

G E ' ' ' ' E'

E' ' '

' ' ' ' ' ''

1 ' '1 '1 '

' ' ' ' ' '

' ' E' ' ' ' E'