Here is an example of the type of things I do during my creative time sessions (when I am lucky enough to get some!). I have taken on a passion project of exposing young players to extended techniques in varied musical settings, i.e.solo, chamber, and orchestra.

To me this means how do we approach new music? How are we introduced to it? As avant-garde “out there” music or as the latest evolution of music? Were you assigned to learn this piece by a teacher or heard a new work in a concert? All these answers can influence our relationship to new music. I like to think that given the right set of circumstances more people than not would enjoy and appreciate new music.

So anyway, here is how I work out some of these issues for fingerings. I like to experiment with the instrument to see what gets “close” to the right pitch on the tuner for any given note, quarter tone, etc. Then I look to see how it lies in context, what comes before or after, to see which fingering might be the easiest to get to. This way I am also becoming more aware of how the instrument is constructed.

Please note: this is NOT a complete fingering chart. As you can see I am still adding and changing. This is purely for an example of how I work on these sorts of resources for myself and others.