NOTATIO

So, I agree with all three of you!
I don't deny that the placement of the figures might be questionable, but in my opinion, the bigger problem is that there are too many of them. And/or that Gould possibly forgot to explain what the purpose of the example is.

The great quantity of numbers doesn't bother me, because she is clearly attempting to show many possibilities in one example. But the haphazard way in which they are placed does, because it is completely non-standard. Finger numbers are usually centered over notes or placed directly to the sides of note heads, not offset as they are in the example.

There are a few redundant numbers, as MichelRE pointed out, and these should not have been included because this is the most common problem one sees in fingering examples posted in notation forums.The most basic rule for fingering: use the fewest number possible to meet the goal of the edition. Some editions provide help only in problematic areas. Others provide complete fingering. Whatever the intent, not a single number should be redundant. Generally only one (or no) number is required over a chord. Less frequently, two. And much less, three. Four is very rare indeed.

I think it safe to say that most living composers (composers of educational music would be the exception), like the composers of the past (here Chopin is the one exception and mostly in his etudes), usually do not indicate piano fingering. It is only when pieces enter the standard repertory that there is a demand for fingering, often aimed at the many piano students who vastly outnumber the professionals.

John Ruggero wrote: ↑24 Sep 2023, 12:33 The great quantity of numbers doesn't bother me, because she is clearly attempting to show many possibilities in one example.

Clearly, to us, yes. End of discussion for my part.

Sorry, Anders. I guess I missed your point that the great quantity of fingering in itself gives the wrong impression to those who are less knowledgable about this area of notation. Space limitations may have played a role in this, but she certainly should have been clearer about the intention of the example and more critical of its content and the way it was engraved.

No problem, John. Glad we understood each other.

Agree with MichelRE above. The excessive fingering - although the composer may have thought it helpful - would only help to discourage me from this piece. Not all hands or approaches to fingering are the same.