My part 3 of Chopin's Method of Methods

It is not clear if the following is part 2 of his 3 parts of mechanism or
a continuation of his 1st part since he did not number them.  Part 1 could
be all this about mechanism, part 2 the sounds and words that I posted
earlier, and part 3 what I will post at a later date.  (say what?)

   "It is unnecessary to begin the study of scales with that of C, which
   is the easiest to read [I assume he means "reading the keys" not the
   score] but the most difficult to play, as it lacks the support afforded
   by the black notes.  It will be well to play, first of all, the scale
   of G flat, which places the hand regularly, utilizing the long fingers
   for the black notes.  The student will arrive progressively at the
   scale of C, using each time one finger less on the black keys [assuming
   running through the circle of 5ths]."

On the occasions that I have had to teach piano, I follow this and I am
amazed at how quickly the student can play the Gb scale even up to three
of four octaves.

I wonder how many piano teachers start with the key of C. Anybody know what
the prevailing way is that is employed by teachers?

 [Possibly part 3 of his 3 parts of mechanism, or a continuation of part 1]

   "The shake [trill] should be played with three fingers, or four as
   an exercise.  The chromatic scale should be practiced with the thumb,
   forefinger and the middle finger, also the little finger, the third
   and the middle fingers [see his etude op 10, #2] In thirds as in
   sixths and octaves, always use the same fingers"

A good example is his etude op 25, # 11 where a chromatic scale is played
with fingers 3,4, and 5 while the thumb and forefinger maintain an A min
tonality at the same time.  I have found that this fingering works in
either hand for all intervals.

<Now begins the discussion of sounds and words. Previously posted.>

To be continued.

Bill Pirkle