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JULIANTHEBARBARIAN

Minor Keys On The Hayden

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Hi guys.
Perhaps you have already covered this topic, but if so I haven't been able to find it. So - when playing the natural or folk minor, what is the suggested fingering pattern? By natural or folk minor I mean, for example, A minor played by playing all the notes of the C scale but starting and finishing on A. I'm not defining minor keys in the same way that classical or jazz musicians do, here.

I'm familiar with the usual advice for major keys on the Hayden - that is, we usually use three fingers on the first row, four on the second, and then move up and in to start again with the first finger.

Sticking with this pattern we'd use the ring finger of the right hand on A, the little finger on B, and so on. Alternatively one could use the middle finger on the A, the ring finger on the B, which at first glance looks easier. Is there any advantage to the first pattern I mention here?

Thank you for your trouble in answering. If this has already been covered and I have missed it then apologies. Perhaps someone could direct me to the correct topic.

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The first pattern is consistant into the next octave.

 

On the Hayden, all patterns are consistent, at least in principle... not only in the next octave, but in all keys.

 

That could be considered advantageous.

"Advantageous" depends on what you're trying to do. If you're just trying to shift something you've gotten into your fingers by an octave, then yeah. But not necessarily if you're trying to play two notes an octave apart, either simultaneously or in succession. Then it can be "advantageous" if those two notes "fall under" different fingers.

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Regards octaves played in the same hand: -

This is one of the reasons for tipping the rows of notes at an angle to the hand rail. This enables octaves to be played by two adjacent fingers. Unfortunately not all players and makers seem to understand there are good reasons for my recommendation.

 

Inventor.

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Regards octaves played in the same hand: -

This is one of the reasons for tipping the rows of notes at an angle to the hand rail.

I would be interested in knowing the other reasons because I find that an angled hand rail makes it very difficult for me to reach the higher pitched notes on the rows, especially on the RHS. On my Elise I have re-oriented and widened the RHS handrail, but left the LHS rail as is.

 

I also have a Peacock with the parallel handrails on both sides and find that very comfortable.

 

Unless there are other, more compelling, reasons for the angled handrail then I don't think I would trade the ability to play octaves on one hand with the ability to comfortably reach all of the notes.

 

I suspect that this is very much related to hand size and finger length which, I understand, varies quite considerably.

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