![]() ![]() In arpeggios one wants to move laterally, but in this case, moving 4 on a white key (i.e., a long finger in a vertically lower position) to 1 on a black key (i.e., crossing a short finger to a vertically higher position) a fairly significant vertical movement is required (at minimum of finger 4 - a difficult proposition by itself - if not the whole hand).įor A major, the 2-1-4 right-hand fingering is far superior. This in turn leads to finger 4 getting "stuck" when moving to get finger 1 onto the next C#. Because of this, if choosing the right-hand fingering that begins with 1 on C#, it forces finger 4 to be placed well between two black keys. In the A major case, it's an important factor that it is in first inversion. ![]() In the cases of the two arpeggios given, there are very clear differences that make the A major more difficult. And it isn't always in the most helpful position. That thumb then becomes pivotal, literally, in moving laterally. So we need to move hands left and right as we play down and up. If humans had more, it'd be easier to move up and down the keyboard. And having only five digits is a disadvantage too. But sometimes even that's not possible, so with the difference in location between black and white, it stands to reason some arps will be easier, some not. Where possible, short thumbs are used on white rather than black keys, for obvious reasons. ![]() ![]() So the black keys are squashed in between the white keys, making the keyboard at least practicable.Īrpeggios use different mixes of black and white keys, with several different patterns used. It would be impossible to have an 88 note keyboard with only white notes - it would be far too wide. Those are the reasons mainly why some arpeggios - and scales for that matter - are more difficult than others. Were all our digits the same size and length, you wouldn't be asking this question. Were there only white keys on a piano, you wouldn't be asking this question. ![]()
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