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辅助键、左手拇指和传统低音键钮的合理应用是巴扬演奏中安排指法的值得注意的问题。无论是演奏主调音乐还时复调音乐都应当充分考虑对三者的应用,尤其是复调音乐(仅以《巴赫平均律键盘曲集》中赋格曲和《斯卡拉蒂奏鸣曲》为例),《巴赫平均律键盘曲集》中赋格曲少则两个声部,多则五个声部,演奏中每只手都要完成一至三个声部的音乐线条,这就使演奏者演奏复调音乐较之于主调音乐时对指法编排的考虑要更加全面,因此,只有对辅助键、左手拇指和传统低音键钮充分运用,才能满足复调音乐对指法编排所提出的更高要求。
The proper application of auxiliary keys, left-handed thumbs and traditional bass keys is a notable issue in the arrangement of fingering in Bayan’s performance. Both the main tune and the polyphony should take full account of the application of the three, especially polyphonic music (only the Fugue and Sarkatti Sonata in the Bach Meanset Keyboard Collection) ), “Bach Mean Law Keyboard” in the fugue song from the two parts, as many as five parts, each hand must complete the performance of one to three parts of the music lines, which makes the player Playing polyphony is more comprehensive than fingering the chorusing, so full use of the assistive key, the left thumb, and the traditional bass button is enough to satisfy the higher polyphony proposed for the fingering choreography Claim.