Different strokes for different folks

[Rob MacKillop]

From what I have observed from various stroke publications, similar figures appear in a variety of right-hand fingerings. For example,

---------0---
-----0----
-0---------
----------
---------

could be played

1. i i i - the striking finger playing straight through as an arpeggio

2. i ASPO i - the second string sounded by a left-hand finger

3. x ASPO i - where x = thumb

4. x x i

5. x i i

6. x i ASPO
and a couple of others...

There are many figures and situations that show varied right-hand patterns, sometimes from the same composer-arranger. Not every piece, however, is fully fingered for the right hand. So, we have a few choices. We either learn the preferred fingering of each individual composer, and use it with his works, a different fingering for another composer, or we have our own favoured choices for certain situations. Or we try a bit of each. Fair enough. But my question is, can we (or maybe, how often do we) substitute a different right-hand fingering fom the one indicated, just because it makes the passage easier for us to play? I'm not saying there is any crime taking place - the end result, a convincing performance, is of greater import, surely?

So how much fidelity should we have to published fingerings? I see this style as lying somewhere between classical and folk traditions, with different currents moving more strongly in different places at different times. My own instinct is to try to play the way indicated, for the sole reason of trying to find out the composer's intentions. But when the going gets tough, the question is at what point do I say either, 'this piece is too hard' and leave it, or change it to suit my technique?

Just a few thoughts as the evening draws to a close...

[Tim Twiss]

I believe one should give the written fingerings the benefit if the doubt and play as written. In fact, one should absolutley as much material as possible to experience what is out available. Then the alternative fingerings to choose from will be obvious, based on experience, style of music, flavor of the arrangement. Take them on a case by case basis. An endless topic, no doubt. There are some that simply can't be improved upon...others leave many questions in my mind. Personally, Rice and the Analyitcal are my favorites for good fingerings. Buckley is a puzzle in my mind...coolest tunes, loosest direction. Briggs is Briggs, and is a great foundation. To sum it up, I think someone should be able to play it as written before deciding to abandon it.

[Trapdoor2]

Just an "amen". I try to play it as fingered (if fingering is there). Still, sometimes I cannot avoid alterations based on my 'other banjo styles' experience...and I also enjoy trying to 'think out of the box'. I suffer for it sometimes (esp. when I bull thru out of sheer stupidity) but sometimes the result is worth it.