“Transferring the E-flat and G-flat silently into the left hand frees the right hand for a more melodic performance of the turn with stronger fingers.”

Submitted by Michael Clark

Published on 4/18/2020

“This redistribution frees the right hand to use strong fingers on the trill.”

Submitted by Michael Clark

Published on 2/15/2020

“Taking the E in the left hand facilitates a more reliable fingering for the ornament.”

Submitted by Michael Clark with thanks to Robert Roux

Published 1/11/20

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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, 87.

52: “Two recurring figurations in the opening section of ‘Alborada del gracioso’ are ornamental within the context of the melodic line. Example 36 shows one method of playing the right hand triplet figure which is difficult as notated, since it covers the interval of a ninth and must be played forte. The notes on the upper staff are easier for the small hand to play when the rotation of the wrist up from the major-second is eliminated.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 53, 87.

53: “Example 37 illustrates a second ornamental figure from ‘Alborada del gracioso’ which can be executed crisply with the second and third fingers when the left hand takes the notes beneath it.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 53, 87.

53: “Example 37 illustrates a second ornamental figure from ‘Alborada del gracioso’ which can be executed crisply with the second and third fingers when the left hand takes the notes beneath it.”

“Presumably this is was Ravel’s intended distribution, but it took me a while to figure that out as an undergraduate collaborative pianist. Hopefully seeing this will save someone some headaches!”

Submitted by Michael Clark

Published on 4/13/2020

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), 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."

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.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/3/2022 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, 117.

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."

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), 63, 119.

62: “Careful control of dynamics and voicing is an integral factor to the shaping of Ravel's melodies…. When the left hand plays some of the notes on the upper staff, the right hand can better balance the harmony while expressively shaping the melodic line. The ear must always be aware of the voice-leading indicated by the composer.”

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), 63, 119.

62: “Careful control of dynamics and voicing is an integral factor to the shaping of Ravel's melodies…. When the left hand plays some of the notes on the upper staff, the right hand can better balance the harmony while expressively shaping the melodic line. The ear must always be aware of the voice-leading indicated by the composer.”

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), 121.

“Taking these two notes in the left hand allows the right hand just enough time to prepare for the grace notes.”

Submitted by Michael Clark

Published on 4/13/2020