Speaking of fingering...
I often approach this problem, that I finger the harder parts of a new piece in a (obviously) slow tempo, in which I am able to previously play it. Then after increasing the tempo to the appropriate one I get to find my fingering quite uncomfortable, but it is often too late to change them (the fingering is just too deeply "coded" in my brain).
Of course I always try to verify my fingering at the very beginning by playing the phrase one hand in a fast tempo. The problem is that the fingerings seems fine for me until I learn the hole piece well enough that I need to do no more than just increase the tempo. That’s when I find the fingering not as appropriate as it could/should be.
My last experience of this problem was whith Bach’s chorale: Christ, unser Herr, zum Jordan kam. [BWV 684] (the left hand). I fingered nearly all the notes and after weeks of practicing it I found that my often mistakes where because of uncomfortable fingers.
There’s also another issue (for which this chorale is a good example): when there is meledy/voise that is build of exact phrases being transposed. Do you consider it better to finger the phrase and then just repeat the fingering in every transposition or rather to always adjust the fingering most appropriately to each key the phrase has been transposed to.
The first method may be sometimes no so comfortable for the fingers in all keys but one may find it easer to learn, as his hand gets to “remember” the specific movement quicker and might after all find this better.
To be honest, after I studied reasons of my mistakes in this piece, my conclusion was that the fingering seemed to my uncomfortable because of using the “second method” of fingering. Playing in a fast tempo my hand just wanted to play in the same way, with the same fingers (even though it sometimes was a bit of gymnastics).
(I do hope you understand what I’m writing about here
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Well I assume that this issue might be very individual so do you have reflections on this problem?
Regards. :tiphat: