The school of scales, chords and embellishments Twenty-eight studies arranged for the piano by Hermann Berens

Approved 28 studies, but, nothing different from what Czerny and Cramer have done for a lifetime. The fingering that he puts in the embellishments is very interesting and also obvious, because, is what we will use for life, nevertheless about the scales, we should try another fingering of that monotonous and basic, do both, the conventional and also this one:
Conventional: {1-2-3- ° -1-2-3-4 -5}
to {2- ° -1-2-3- ° -1-2-3-4} and the opposite the same thing:
{4-3-2-1- ° -3-2-1- ° - 2}.
It is as if we begin the scale of D minor over C major, where "D" with finger 5 is omitted:
 "D (5)" ; C (4); B (3); A (2); G (1) - ° - F (3); E (2); D (1); C (2).

The book of Czerny's school of velocity treats this type of fingering, but, beware of the American version, which is all wrong, someone thought it best to retake the fingering for the common and banal way of studying scales, but be aware that the proposal of Czerny himself was criminally adulterated, of course fingering, which in fact is subjective and depends on each hand, mostly done by editors and publishers, but in this particular case Czerny proposal book is another fingering to achieve better speed on scales and arpeggios.

Try playing Mozart's Sonata in C major, Allegro K545 with this fingering,
You will notice its acceleration {a} in relation to time {t} much greater:
{a = ( Vf - Vi ) / t} --> (Vi=4 to Vf=2) that is all much easier and agile, when the middle finger is not used for both hands. You'll just start Vi=4 going to the thumb, then finger crossing to '3' ; 2 ; 1 and Vf=2.
For a good understander, after the thumb always comes the fingers '3rd' or '2nd' and in special cases the finger '4th', but using forearm rotation becomes even easier.

When we do not play chords and their inversions, the melody of the music is just this, scales and arpeggios, that's what we do almost 100% in all music, we play partial scales and arpeggios, for example: sometimes the C major scale starts on 'D', 'G' or in 'long apoggiaturas' with 'D#' or 'F#' and sometimes they are summarized in four notes and then it walks to another parcial scale or arpeggio, in all the Jazz is exactly the same thing. I see jazz pianists using only fingers: 3, 2 and thumb 1 on faster scales or chromatism.

From the original book, available for free at imslp:
"Die Schule der Tonleitern, Akkorde und Verzierungen, Op.88 (Berens, Hermann)'