Piano fingering strategies as expressive and analytical tools for the performer

Abstract

The process of fingering a piece, for a pianist, is a highly personal one. It depends on a number of factors: the configuration of the keyboard, the physiology of the pianist’s hands, the specific demands of the work in question. It serves several purposes, of which dexterity and expressiveness have often been acknowledged in literature. In this presentation, I claim that the fingering process bears an important cognitive role and may prove to be a valuable analytical resource for the interpreter, as it promotes the understanding of musical processes at work, both before and during the performance, specifically in the contemporary repertoire. Complementarily, I advocate that a more comprehensive and all-encompassing approach to fingering, freed from the constraints of standard practices, may significantly contribute to the realization of the full expressive potential of a number of works. Examples will be drawn from specific composers, such as João Pedro Oliveira, Christopher Bochmann, Jean-Sébastien Béreau, Paul Méfano, João Madureira and Emmanuel Nunes.