That’s a pretty neat way to look at it. I’ve seen a few of those “rebel” fingerings pop up over the years—like when a virtuoso decides to switch from a 4–5–4–1 to a 3–4–3–2 pattern just to fit a new phrase better. It’s like a musical protest, a little tweak that says, “We’re not stuck in the old way.” If you’re up for it, let’s pick a scale and experiment with a couple of different fingerings, then hear how the phrasing feels and see what little rebellions we can uncover.