Le Tombeau de Couperin — Piano Fingerings Database

RAVEL | Le Tombeau de Couperin: Prélude: m. 9

Piano fingerings for Le Tombeau de Couperin: Prélude by Maurice Ravel

"Although redistributions are frequently used to solve vertical problems, they can be used with equal success to preserve the graceful beauty of a horizontal line that would be more easily marred through finger crossings or traditional repeated-note fingerings."

Submitted by Jonathan Scofield

Published on 10/4/2020

Solo PianoMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, Jonathan Scofield, redistribution, repeated notesComment

RAVEL | Le Tombeau de Couperin: Prélude: m. 26

"Although redistributions are frequently used to solve vertical problems, they can be used with equal success to preserve the graceful beauty of a horizontal line that would be more easily marred through finger crossings or traditional repeated-note fingerings."

Submitted by Jonathan Scofield

Published on 10/4/2020

Solo PianoMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, Jonathan Scofield, redistribution, avoid finger crossing, reduce position shiftsComment

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.

Special Collection, Solo PianoMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, avoid stretch, facilitate leapComment

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.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, improve legato, reduce position shifts, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Prelude: mm. 31–32

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leap, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 38

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.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leap, reduce position shifts, improve legatoComment

RAVEL | Le Tombeau de Couperin: Prelude: mm. 40–41

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."

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate ornament, use stronger fingers, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 44

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, use stronger fingers, facilitate ornamentComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 50

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 52

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 72

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: m. 74

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: mm. 75–77

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, improve legato, facilitate leap, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Prélude: mm. 86–87

"Although redistributions are frequently used to solve vertical problems, they can be used with equal success to preserve the graceful beauty of a horizontal line that would be more easily marred through finger crossings or traditional repeated-note fingerings."

Submitted by Jonathan Scofield

Published on 10/4/2020

Solo PianoMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, Jonathan Scofield, redistribution, alternating hands, improve legatoComment

RAVEL | Le Tombeau de Couperin: Prelude: m. 87

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.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Prelude: mm. 91–92

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.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, divide more evenly between hands, alternating hands, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: mm. 96–97

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.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Prelude, Dorothy Brandwein, redistribution, tremolo, alternating handsComment