”I find descending broken octaves, especially those that range multiple octaves and cross the body, difficult to execute. With this redistribution, I alternate hands to play the D# (an easy key to find quickly, since it's a black key). I find that I can still retain the quality of the two-note slur, even with this redistribution.”
Submitted by Sarah Rushing
Published on 2/20/2020
Fingerings in Italics are Liszt’s.
“Taking the final sixth in the right hand allows the pattern of hand alternation to continue to the downbeat.”
Submitted by Michael Clark
Published on 1/1/2020
“As this pattern descends, it can be divided by the hands to maximize power and visual excitement.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Some students may have an easier time distributing these tremolo figures between the hands. At a presto tempo, any lack of coordination between the hands (as written) results in a ragged, jangly version. Alternating between the hands keeps the articulation crisp.”
Submitted by Sam Welsh
Published on 3/26/2020
“I treat all of these figures as tremolos between the hands. The increased awkwardness is overshadowed by immediate gains in rhythmic precision.”
Submitted by Michael Clark
Published on 8/11/2021
“Dividing this passage between the hands adds security and visual appeal to the ending of this set.”
Submitted by Michael Clark
Published on 9/5/2023
“The accents in m. 51 come through more clearly when divided between the hands. I prefer to maintain the octaves in the right hand in m. 56 for consistency and less shifting in the left hand.”
Submitted by Michael Clark
Published on 10/4/2020
“While what Rachmaninoff wrote isn't particularly difficult, I find playing alternating thirds between the hands is more effortless and it comes out more articulate. It's a good way to get this nasty section off on the right foot.”
Submitted by Michael Lenahan
Published on 5/25/2020
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/29/2022 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), 27, 100.
27: “The following measures taken from ‘Scarbo’ can be fingered for one chord position which is the same for both hands.”
"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
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.”
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.”
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 5/5/2022 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), 51, 121.
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…”
51: “The same technique may be used for the double-note trill at the end of the ‘Menuet,’ in order to preserve the sounding intervals of a third. If the right hand depresses the final notes of the trill, as marked, the left hand is free to depress silently the bass notes as the pedal clears all vibrations extraneous to the tonic harmony.”
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 5/5/2022 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), 37, 44, 123.
37: “Pianists with small hands find that their speed and accuracy are particularly affected by the tension that builds during prolonged passages requiring an extended hand position. The ‘Toccata’ is very challenging for this reason. In Example 18, the left hand can easily help the right hand by sharing the notes on the upper staff.”
44: “In Example 26 the use of the fifth finger is generally avoided so that every note can be more easily played at a fortissimo dynamic.”
Original:
Suggested performance:
“The broken octaves in the right hand can be performed as octaves in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking these notes in the left hand provides better balance between the hands and gives relief to the right hand’s constant motion.”
Submitted by Bill Brown with thanks to Menahem Pressler
Published on 5/14/2020
“Taking these notes in the left hand provides better balance between the hands and gives relief to the right hand’s constant motion.”
Submitted by Bill Brown with thanks to Menahem Pressler
Published on 5/14/2020