Harp TW fingering for web

Suggested Fingerings for Harp Technical Work All of the fingerings shown are given as a guide only. Other placings and groupings are acceptable as long as they produce controlled, rhythmic and musical results.

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One octave

& &

? ?

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¶4 ¶4 w > w >> w > ¶w4 ¶4

3

2

w3 w w w3

w2 w w w2

3

2

¶ w1 ¶ ¶w ¶ ¶w ¶ w1 ¶ 1 ¶ 1

¶4 ¶w4 w¶ ¶ w¶ w¶ ¶4 ¶4

Two or more octave scales

& & ? ?

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& & ? ?

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¶4 ¶4 w > w > w > ¶w4 ¶4 w2 w2 w2 2

3

2

w3 w w w3

w2 w w w2

3

2

w3 w3 w3

¶ w4 ¶ ¶¶ w4 ¶ ¶ w4 ¶ 4 ¶

3

¶ 1 ¶ ¶w ¶w ¶w ¶ w1 ¶ 1 ¶ 1

¶4 ¶w4 ¶ w¶ w¶ w¶ ¶4 ¶4

1 ¶ 2 ¶ w1 ¶ w2 ¶¶ w1 ¶ w2 w w ¶1 ¶ 2

w3 w w w 3

w2 w w w

3

2

3

2

2

1 ¶ w ¶ w1 ¶ ¶> > ¶w > ¶w 1 ¶ 1 ¶

> 3 2 1 ¶ > w w w3 2 ¶ 1 ¶ w w ¶w > ¶ w w w > w w ¶w 3 2 1 ¶ 3 2 1 ¶ > 1 ¶ ¶ w3 > w ¶¶ w3 ¶¶ ¶ w1 ¶ ¶ w3 ¶ ¶ w >¶ 3 ¶ >¶ w ¶1 ¶1

w2 w w w 2

w3 w w w

2

3

2

3

3

¶4 ¶w4 w¶ ¶ w¶ w¶ ¶4 ¶4

¶ w1 ¶ ¶w ¶ ¶w ¶ w1 ¶ 1¶ 1

2

w2 w w w2

3

4

w3 w w w3

2

3

w¶ w¶ w¶ w4 ¶

¶ w3 w2 w1 ¶ ¶ w4 ¶ w33 ¶ w3 ¶ w2 ¶¶ w1 ¶ ¶ w4 ¶ w ¶ w2 ¶ w1 ¶ w4 w3 w¶ 2 1 ¶ 4 3 ¶ w3 ¶ ¶3 w2 w w w 2

2 2

> ¶> w ¶ w4 ¶ w3 w¶ 3 >¶ w w >¶ 3 ¶w ¶4

¶4 w3 ¶ w4 w w¶ ¶ w ¶w w ¶w 3 4 ¶ 3 4 ¶ 3

¶ 1 ¶ ¶w ¶w w¶ ¶ w1 ¶ ¶1 1

2

w2 2 & w w2

w3 w w w3

w2 w w w2

3

2

w3 w3

¶ w4 ¶ w4 ¶¶ ¶ 4

3

¶ 1 ¶ ¶w ¶w ¶w ¶ w1 ¶ 1 ¶

1 ¶ ¶ w1 ¶ ¶¶ w 1

¶ ¶ w3 ¶ w¶ w¶ w¶ ¶3 ¶3

¶ w ¶ w1 ¶ ¶ ¶w ¶w 1 ¶ 1 ¶

w2 w w w 2 2

w w2 2

w3 w 3

w w1 ¶¶ w2 ¶ w1 w2 ¶ w1 ¶ 2 ¶

4

> >1 ¶ w ¶w w2 ¶ w1 ¶¶ w2 ¶ w1 ¶ > 2 ¶ >1 2

w2 w w w2

3

4

w3 w w w3

2

3

w¶ w¶ w w4 ¶ 4 ¶

i.e. first octave ascending, fingered as for one-octave scale, then 3rd finger turns 3 4 scale. under 4after the and the2 4th finger plays on3the dominant 1 (5th) of 2 3 tonic 2 (key-note) 1 3 1 4 Descending, the thumb turns over onto the subdominant (4th) and the tonic. 4 3

¶ & ¶4 & w > w > ? w > ? ¶w 4 ¶4

4

¶w w ¶w¶ w ¶ w4 ¶ w3 ¶4 3

4

> >1 ¶ w2 ¶ w w2 ¶¶ w1 ¶ w2 ¶ w1 ¶ >1 2 >¶

4

> 1 ¶ 2 ¶ >4 w w ¶ 4 ¶ ¶ 1 ¶ w2 w¶ w

¶3 ¶ w3

¶ 2 ¶ 2 1 ¶ ¶w w 1

3

w3

41

w 4

of 3

¶1

{

2

3

4

¶ ¶1

2

3

Alternative two or more octave scales

¶4 & w > > ? w ¶4

{

3

2

w ¶w

w

w2 & w 2

1

w

w ¶w

3

2

w3 w

¶ w4 ¶ w¶ ¶4

3

?

1

> ¶ 3 2 1 ¶ ¶ 4 w3 w ¶ w ¶w w ¶ w >w ¶ 3 w¶ w ¶w ¶ ¶3 2 1 ¶ 4

¶

¶

¶ w ¶ ¶ w1 ¶

w w

1

> ¶3 1 ¶ 2 ¶4 w ¶ ¶w w w ¶ w¶ 4 > ¶w w w¶ ¶ 1 ¶ 2 ¶3

w w

2

3

2

¶4 3 w2 w1 ¶ w w w ¶ w1 w4 ¶ w3 2 ¶ ¶

3

¶

1

¶w ¶w

¶

1

2

4

¶

> w ¶ w1 ¶ w ¶w 2 >1 ¶ 2

w

3

4

w

w

w

w¶

2

3

w¶ 4

i.e. first octave ascending differs in fingering from the previous example, and the 4th finger is used on subsequent tonic notes with the thumb turning to descend from the top. Scales starting from the top will be fingered as for the descending fingering versions of these scales followed by the ascending patterns with all fingering patterns turning on the 4th finger at the bottom.

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Contrary motion scales

¶4 3 b & b w #w > ¶ w1 ?b b

{

b &b

# w2

?b b w 3

w3 ¶ w4 w 2

1

¶

3

¶

w w w ¶¶ w 2 2

> 3 ¶ ¶ w3 w2 #w ¶ w4 ¶ w ¶ ¶ w¶ 1 > w ¶w w ¶ #w 2 3 ¶ ¶ 1 2 ¶ 1

1 ¶ 2 w w ¶ ¶

w¶ ¶ w

¶1

4

¶

w 3

w #w 3

2

w2

3 w1 ¶ ¶ w4 ¶ w # w ¶ ¶ 2

w ¶w 3

4

w¶ w

¶ ¶1

2

> w1 ¶

> w ¶w 3 4

> ¶ w4 #w1 ¶ 2 ¶ 3 w w ¶ ¶ w1 ¶ w2 w3 4 ¶ ¶¶ w w #w1 ¶ w 2 > w w w ¶ ¶3 w ¶¶ ¶ ¶1 3 ¶ 2 ¶1

¶

This fingering pattern achieves consistency of turning under between hands, which is easier for co-ordination, but other fingering patterns may be used.

&¶

w

w

w¶

w

2 of 3

w

3

{

¶1

2

4

¶

3

¶1

2

¶

3

¶1

2

Arpeggios One octave

&¶ & ¶w w4

? w4 ? w ¶4 ¶4

{

w¶ w¶ ¶ 11 ¶w ¶w 1 ¶ 1 ¶

w w2 2 w w

w w3 3 w w3

2

3

2

w w2 2 w w 2

2

Two or more octaves

¶4 & ¶ w4 & w ? w ? w ¶4 ¶4

{

3

w w w w3 3

3

¶ w 1 ¶ ¶w ¶¶ ¶w w 1 ¶ 1 ¶

w w w w 2

2

2

2

w w4 ¶ 4 ¶ w¶ w4 ¶

3

2

2

Ascending: the 3rd finger always turns under to the 3rd degree of the scale. Descending: the thumb turns over to the tonic.

4

1 ¶ w 1 ¶ ¶w ¶w ¶ w1 ¶ 1 ¶

w2 w w w2

¶ w3 ¶ w3 ¶ w¶ ¶ w3 ¶ ¶3

1

w w3 3 w w3

w22 w w w2

¶ w3 ¶ w3 ¶ w¶ ¶ w33 ¶ ¶

2

1 ¶ w ¶ w1 ¶ ¶ ¶w ¶w ¶ ¶ 1

w w w w

1

2

2

3

4

3

w¶ w¶ w¶ w4 ¶

w w w w3

2

2

4

3

4

Dominant and diminished sevenths in all inversions Four-octave example

? > œ ¶4 ? >

{

& &

œ 3

œ

œ

¶4

3

> ¶œ > ¶œ 1

1

¶ ¶

œ ¶œ 2

œ 2

1

¶

œ 1

œ¶ œ

¶ ¶4 ¶ ¶

œ 4

3

¶

œ 3

œ ¶> &œ 2

1

>œ ¶ œ 2

1

œ

¶ ¶4

¶

œ 3

œ¶ œ

¶ ¶4

3

œ ¶œ 2

1

œ ¶ 2

œ œ œ ¶ ¶œ œ >¶ ¶ ?œ ¶ œ œ œ 2 3 ¶ 4 1 ¶ 2 3 ¶ 4 1 ¶ œ2 œ3 ¶ 4 > ¶ ¶ ¶ ¶ œ œ ?œ ¶ œ œ œ œ œ œ œ ¶ 4 1 ¶ 2 œ3 ¶ 4 1 ¶ 2 3 ¶ 4 2 3

&

œ 1

œ

œ¶ œ

¶ ¶4

œ

3

¶

¶ ¶4

¶œ œ œ 1 ¶ 2 3 ¶ œ œ 1 ¶ 2 œ3

2

œ

œ 3

2

œ

¶

4

œ

¶

4

Ascending, 4th finger always turns under and, descending, the thumb always turns over. There are no 3-finger groups.

3 of 3