“I find it easier to control this delicate texture with this hand distribution. Taking select thirty-second notes in the left hand in mm. 5–6 allows just enough time for the right hand to prepare for its melody notes.”

Submitted by Michael Clark

Published 1/11/2020

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), 35, 73.

35: “Divisi fingering can diminish interference between hands in many measures that have a complex harmonic texture or figuration. Example 16 shows...which have in common the necessity for a blend of notes at great speed and at very soft dynamic levels.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 73.

34: “Divisi fingering can diminish interference between the hands in many measures that have a complex harmonic texture or figuration. Example 16 shows measures…which have in common the necessity for a blend of notes at great speed and at very soft dynamic levels.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 73.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 59, 73.

57: “Dividing notes between the hands in order to attain legato fingering may enhance the pianist's musical efforts.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 73.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 74.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 47, 74.

47: “Example 30 illustrates divisi fingering in situations where a small hand does not have the span necessary to play all the notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 60, 74.

60: “Legato fingering is very useful in shaping the melodic phrases of Ravel's music. All the measures in Example 44 use divisi fingering in order that the performer may attain a better legato connection between notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 60, 74.

60: “Legato fingering is very useful in shaping the melodic phrases of Ravel's music. All the measures in Example 44 use divisi fingering in order that the performer may attain a better legato connection between notes.”

“Taking the D-sharp in the right hand helps to keep the layers of sound distinct: the left hand plays only the accented quarter notes, and the right hand plays the sixteenth notes.

Submitted by Michael Clark

Published 1/11/2020

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 26, 74.

25–26: “The left hand figuration in the measures of Example 5 is difficult because of its register, its location on the black keys, and the marked accents of the counter-melody. The right hand can conveniently play some of the notes in the figuration, and, in this way, contribute to the rhythmic momentum of the passage.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 62, 75.

62: “The articulation of two-note slurs is often indicated within Ravel's larger phrase structures. The following example shows the increased ease of execution of the melodic slurs when the left hand shares some of the notes written on the upper staff .”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 75.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 75.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 47, 75.

47: “Example 30 illustrates divisi fingering in situations where a small hand does not have the span necessary to play all the notes.”

“This fingering consistently separates distinct musical lines between the hands: the left hand takes the quarter notes, the right plays the triplets. The hand crossing also looks nice!”

Submitted by Michael Clark

Published 1/11/2020

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/19/2022 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), 31, 75.

30: “Divisi fingering should always be considered in situations where one hand remains static while the other is involved with fast-moving figuration. Such passages as those in Example 12 flow more easily by using less right or left hand motion.”