When playing the descending scale in the images shown, I always use finger 3 (orange) on the black F# key (3214321) because it's easier than finger 4 (printed) as it's far from the center and the hand needs to turn inward. I noticed almost all the printed fingerings suggest finger 4 (4321321). Is it just because it's the same fingering when playing the scale in ascending direction? Anyone agree my fingering is better(only for descending)? (I know it's no big deal, but asking because I haven't seen anyone using my orange fingering).
Fingerings are personal, and what you've suggested is perfectly reasonable, so if that's what you prefer, then go for it.
There's a slight tendency to come down a little harder when crossing over the thumb, so placing that cross on the downbeat plays into that tendency. It's also just nice from a mental organization standpoint to have that more significant moment happen on the beat. It helps you cluster your actions into the most logical groups. But, of course you should learn to be adept at crossing whenever is necessary and doing so smoothly and transparently, and fingerings like you suggest should work just as well for a skilled player. It's just a tiny bit harder to phrase it correctly.
Narrowing the choices to two:
- Finger 4 on F#; Finger 3 on C vs.
- Finger 3 on F#; Finger 4 on C
I would most likely choose the former. G and F# are closer together than D and C, so finger 4 doesn't have to reach as far across the thumb; and the F# being raised places it at a natural height for the finger as my hand passes over the thumb.
However, it's entirely possible I would just use finger 3 the entire way. In the Clementi case it doesn't substantially affect things, and the in Beethoven has, though it means an additional crossover, it still gets me to finger 2 on F# at the end of the measure. The advantage in both cases is consistency of fingering — not needing to be concerned which note gets 4 and which gets 3.
It's a G major scale. Your hand is (or should be) very accustomed to playing it both up and down with the standard fingering, 4 on F♯. So the idea is that you use this familiarity when a G major scale occurs in a piece.
This 'turn inwards' worries me. Do you turn your hand at this point when practicing the scale? Get your teacher to show you how not to!