“Taking the tenor line in the left hand from the very first notes assists the right hand in sustaining the alto line comfortably for its full value.”

Submitted by Michael Clark

Published on 1/27/2020

“Taking the E in the right hand assists with maintaining legato in all lines.”

Submitted by Michael Clark

Published on 10/14/2023

“This fingering allows me to sustain the bass A longer and makes it possible to sustain the F-sharp for the right melody after it has been restruck for the rising accompaniment line.”

Submit by Michael Clark

Published on 9/12/2023

“This seems to be the distribution suggested by the rests and stem direction in m. 55. I play right-hand 2 and 3 in toward the fallboard with a tall wrist. I use the unusual scale fingering in m. 56 to allow the quarter note A to be held with 1.”

Submitted by Michael Clark

Published on 10/4/2020

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), 115–16.

115, fn16: "When using divisi fingering in this piece, the pianist should be especially attentive to the sound and articulation of the three independent voices."

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), 61, 116.

61: “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 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), 116.

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), 61, 116.

61: “Divisi fingering in the ‘Fugue’ clarifies the material being stated by the individual voices, particularly in measures where a two-against-three rhythm is scored to be played by one hand.”

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), 116.

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), 61, 116.

61: “Divisi fingering in the ‘Fugue’ clarifies the material being stated by the individual voices, particularly in measures where a two-against-three rhythm is scored to be played by one hand.”

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), 117.

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), 62, 116.

61: “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 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), 117.

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), 117.