Posts tagged LTdC Prelude
RAVEL | Le Tombeau de Couperin: Prelude: m. 23
 
Piano fingerings for Le Tombeau de Couperin: Prelude by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/4/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 113.

 
RAVEL | Le Tombeau de Couperin: Prelude: mm. 25–27
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 29, 113.

27–28: “The pianist who performs Ravel's virtuosic music must be able to blend the numerous notes into horizontal layers of sonority. By choreographing rapid figuration with an economy of hand, wrist, and arm motion, he can avoid abrupt shifts and jumps in hand positions which threaten the fluidity of Ravel's writing.... If both hands are used, the wide leaps in the accompaniment pattern do not disturb the rhythmic flow of the sixteenth notes.”

 
RAVEL | Le Tombeau de Couperin: Prelude: mm. 31–32
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 113.

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 38
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 29, 113.

27–28: “The pianist who performs Ravel's virtuosic music must be able to blend the numerous notes into horizontal layers of sonority. By choreographing rapid figuration with an economy of hand, wrist, and arm motion, he can avoid abrupt shifts and jumps in hand positions which threaten the fluidity of Ravel's writing.... If both hands are used, the wide leaps in the accompaniment pattern do not disturb the rhythmic flow of the sixteenth notes.”

 
RAVEL | Le Tombeau de Couperin: Prelude: mm. 40–41
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 52, 114.

51: "All of Ravel's ornamentations are an inherent part of the melodic line and must be played with clarity, tone, and expression. Fingering is an important factor in the execution of the ornaments. When ornaments are written at the top of a chord or figuration, as in Example 35, divisi fingering will help the pianist avoid a four-five combination of fingers which is more difficult to control and to play with clarity."

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 44
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 114.

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 50
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 114.

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 52
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 114.

 
RAVEL | Le Tombeau de Couperin: Prelude: mm. 70–71
 
Piano fingerings for Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 114.

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 72
 
Piano fingerings for Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 114.

 
RAVEL | Le Tombeau de Couperin: mm. 75–77
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 115.

 
RAVEL | Le Tombeau de Couperin: Prelude: m. 87
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 115.

 
RAVEL | Le Tombeau de Couperin: Prelude: mm. 91–92
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 36, 115.

35: “Example 17 contains measures from several of Ravel's piano pieces in which an extended pattern is written for one hand or the other. In passages such as these, divisi fingering can alleviate any muscular tension which might occur from the constant use of one hand.”

 
RAVEL | Le Tombeau de Couperin: mm. 96–97
 
Piano fingerings for Prelude from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 with the author’s permission

First appeared in Dorothy Woster Brandwein, "Divisi Fingering in Selected Passages from Ravel's Solo Piano Works" (DMA diss., University of Missouri–Kansas City, 1981), 115.

50: “Ravel experimented with the effect which is produced when two harmonies are repeated in rapid succession at the softest dynamic level possible. Divisi fingering allows the pianist to easily coordinate the rapid alternation of the two sonorities by playing the chords as shown in Example 33.”