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I use 2 3 5 L.H. for triads and 1 2 3 for R.H. triads,a little stretch there but it gives me extra fingers for larger chords,am I wrong?

If you're using chords with a starting from the route note, i.e. C major, starting on the C, then either a 1, 3, 5 or possibly 1, 2, 5 can be permissible if straddling some black notes. For most first inversions, 1, 2, 5 would be easier to reach and this can also be applied for some second inversions too.

Basically using the 1, 2, 5 allows your hand to reach bigger gaps in between notes and that is the main reason for the fingering adjustments. Quite logical really.

Relying too much on 2, 3, 5 often means that you find it harder to play transitions between chords smoothly without having to stop to relocate your fingers. Have you found that?

Thank you markymark for your quick response and you are probably right.
But so far I find the 235 more natural and have the thumb ready and waiting for 7th chords. As you mentioned it may become a problem for some inversions and progressions so I will just have to feel my way through. I might add it seems to help my finger independence because it makes me more aware of what the fingers are doing. I also use 123 for R.H. triads,a bit of a stretch but so far it works.
Thanks again

Hi Jabarr
How long have you been playing and at what level do you play? What concerns me most about your fingering is the amount of tension these sorts of stretches will be subjecting your hands to. It's difficult to tell without seeing your hands on the keyboard, but I suspect you would be better working on your finger independence through some well planned technical exercises and playing scales in a variety of styles (staccato is brilliant for developing even finger work). You also need to consider how well your chosen fingering would work when it comes to playing at speed whilst still maintaining accuracy.

In pianists who play many arpeggios, for instance, brain regions that control the index finger and middle finger become fused, apparently because when one finger hits a key in one of these fast-tempo movements, the other does so almost simultaneously, fooling the brain into thinking the two fingers are one. As a result of the fused brain regions, the pianist can no longer move those fingers independently of one another.

Where did you come across this information? I've never heard of it, never known any of my colleagues to suffer from it and, after 40 years of playing (at least 25 of them involving a fair amount of rapid movement and, oddly enough, a fair few arpeggios) I'm still waiting to be afflicted!

Yes,I must admit it does sound far out,there is a relative new science gaining poplarity called neuroplasticity, if your interested
Google Sharon Begley.And thanks for the playing advice.
My level is very low,I only play for fun and am not too serious about my progress.

I will certainly go have a look! The thing to bear in mind at whatever level you play is that certain bad habits will definitely hamper your progress and therefore ulitmately frustrate you later on. What might seem easier now will almost certainly end up causing you difficulties later and then you'll be facing having to retrain your fingers (and believe me, they are very good at putting up maximum resistence!) Having fun is the key (!) to success - enjoy