when playing the notes from lowest to the highest pitch, then use flats when descending.
Chromatic scales without a key signatureįor both C major key signature and A natural minor key signature, there are no sharp or flat notes, so since there is no key signature, we have no clue as to whether to use sharp or flat names to identify any non-natural notes.Īlthough there seem to be no generally agreed rules on how to handle this, one common music theory convention is to use sharps when ascending the scale ie. Eb major key signature, where flat note names would be used. The same principle applies to flat-based key signatures, eg. G major key signature, and we want to use the chromatic scale to identify notes outside that scale, sharps would be used for those chromatic scale notes. major scale, or any minor scale), then the key signature will be the guide as to whether to use sharps or flats for the chromatic scale.įor example, if a sharp-based key signature is used, eg. If chromatic scale notes are being used and identified within the context of a scale with a key signature (eg. Chromatic scale naming in the context of a key signature When it comes to naming the notes shown in the last step, the decision to be made is whether to use sharp or flat note names, both ascending or descending. Because you can use them to learn so many fundamental technical skills, they must be part of a pianist's daily practice program.This step gives note names to the piano keys identified in the previous step. In summary, although most exercises are not helpful, exercising scales, arpeggios and the 4-finger chromatic scale have a special place in piano technique acquisition. With the liberation of the thumb by using TO, perhaps it is time we used a chromatic scale with the thumb on a black key and enable playing incredibly fast chromatic scales with ease. With good TO technique, this scale can be useful you only need to pay special attention to the 14 or 41 where 1 is on G#. The advantage is simplicity you use the same fingering no matter where you start, and the fingering is the same for both hands. I call this the "4-finger chromatic scale".
If we allow one thumb on a black key, a good scale is, starting from C, 123412341234, with the thumb on G# for both hands and 3 identical parallel sets - the simplest possible configuration. Clearly, the restriction of avoiding the thumb on a black key limits the choice of fingering. With good TO technique, this scale might be playable, but even with TO, we rarely use a 51 or 15 transition, which is difficult. You can shrink it to 3 parallel sets by playing, starting at C, 123412312345.
Also, the RH and LH are different this sequence uses 4 parallel sets. One complication with this fingering is that the starting sequence should be changed depending on the starting key in order to maximize velocity. The most commonly used is, starting from E, 123123412312 (Hauer, Czerny, Hanon). In attempts to speed up the chromatic scale, several sequences using longer parallel sets have been devised all of the "accepted" sequences avoid the use of the thumb on a black key.
One variation of this is 1212123121234, which enables a little more legato. Its main advantage is its simplicity which makes it applicable to practically any chromatic sequence, starting from any note. This fingering is difficult to play fast because it is composed of the shortest possible parallel sets and therefore contains a large number (5) of parallel sets. The standard fingering for the chromatic scale, starting from C, is 1313123131345 for one ascending octave of the RH (the top is fingered for a return).