“With this redistribution, the pianist doesn't need to jump around or arpeggiate the right hand. Plus, playing the F-sharp octaves on the 3rd and 5th beats with the right hand provides emphasis to the strong beats of the fortissimo ending, creating a nice audible shape.”

Submitted by Kevin Lee Sun

Published on 1/28/2022

“This fingering helps me deliver bright accents and improves my accuracy in the right hand.”

Submitted by Michael Clark

Published on 8/22/2022

“Josef Raieff suggested performing these two measures with the Viennese-style “compression” on Beats 1 and 2. Taking the final notes with the LH is not only a fun bit of choreography, but prevents the student from giving an undesirable accent of beat 3.”

Submitted by Sam Welsh with thanks to Josef Raieff

Published on 3/26/2020

Fingerings in Italics are Rachmaninoff’s.

“I chose these fingerings to correspond to the musical phrase/accents.”

Submitted by Seolyeong Jeong

Published on 8/23/2021

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), 76.