(5) Reading, Fingering
Beginners who know nothing about reading, fingering, or how to start learning piano, should use the Beginner books, where they can find the beginner information including fingerings (Beyer does not tell you that thumb is finger #1 and pinky is #5!). Here are the fingerings for scales and arpeggios: (29) Scales: Nomenclature and Fingerings; they should be practiced until they become automatic habits. Thumb is rarely asked to play the black keys because that places the other fingers too close to the fallboard.
Learning reading is always a struggle initially for beginners. Teachers should not help them by showing them the keys; let them struggle to find the keys because everybody must go through this stage. Start with easy material, making sure that the student has learned each material well before proceeding to the next. During the reading lesson, make sure that the student is actually reading and has not memorized the keys, by assigning new material; instruct the parents not to help them also while practicing at home.
The time signature at the beginning of each composition looks like a fraction, consisting of a numerator and a denominator. The numerator indicates the number of beats per measure (bar) and the denominator indicates the note per beat. For example, 3/4 means there are three beats per measure and each beat is a quarter note. Knowing the time signature is critical when accompanying or playing in a group because the moment that the accompanist starts is determined by the starting beat which the conductor indicates with the baton. This beat is indicated in the sheet music — it is frequently not the first beat of a measure! The key signature indicates the key in which the music is written and appears before the time signature. It indicates the locations of the sharps and flats.
Do not take extended reading lessons just to learn all the music notations because you won't remember them months later when you need them. Learn to read music notations as they are encountered in new compositions you learn, or when practicing scales and arpeggios. Teachers must balance the students' abilities to read and to memorize, which is treated in (14)Memorizing, Close Your Eyes and Play.
The most important rule for fingering is that, for the same or similar passages, always use the same fingering. Changing the fingering after you have partially learned a section is a major decision because getting rid of old habits and establishing new ones takes a lot of work. During a performance, the old habits can suddenly pop up and result in a flub.
The standard fingerings are generally not indicated in the sheet music and they do not always work depending on what comes before and after, in which case you need non-standard fingerings; these are generally indicated in most sheet music. Although some indicated fingerings may seem awkward at first, you will find that they are needed when you get up to speed and play hands together.
For the Für Elise, look for editions that have the non-standard fingerings indicated. Bar 52 (31 short version) RH, can be played 2321231 where the 3212 is the turn, or 3432131.