“Switching the sixteenth notes to the left hand one note earlier allows the fingering patterns to flow more naturally in both hands. The suggested fingering for the grace notes in m. 31 uses stronger fingers to achieve the ‘molto sonoro’ forte tone Barber desires.”
Submitted by Michael Clark
Published on 3/18/2020
“The right hand has already established the pattern of sliding from the B-flat octave to the A octave, so I find it simpler to continue the pattern into the final measure.”
Submitted by Michael Clark
Published on 1/1/2020
“The right-hand thumb is already on the D one eighth note before, so it’s no trouble for it to play the D in m. 54, eliminating an unnecessary position shift in the left hand. On the downbeat of m. 55, I prefer to keep the same distribution employed in the previous measures for simplicity (three notes in the left hand, one in the right).”
Submitted by Michael Clark
Published on 1/1/2020
“Using 3-2-1 in both hands for each four-note group eliminates confusion and ensures a bold declamation.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/3/2022
“The left hand has been playing octaves already, so it’s simpler to continue that pattern.”
Submitted by Michael Clark
Published on 3/17/2020
“I find that these patterns generally work well passing from left to right as the register shifts with the exception of m. 106 where I briefly alternate the hands.”
Submitted by Michael Clark
Published on 3/13/2020
Submitted by Josh Condon
Published on 6/15/2020
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
“Taking the B-flat in the left hand continues the technical pattern of the previous measure and allows the right hand to begin in a more compact position.”
Submitted by Michael Clark
Published on 8/11/2021
“The left hand can easily reach some of the lower notes in the top staff, requiring less shifting in the right. At the second ending, I find it more natural to continue the arpeggio all the way up in the left hand.”
Submitted by Michael Clark
Published on 9/12/2023
“Playing the first note of the chromatic inner line in m. 106 with the right hand improves the legato. I take the end of the thirty-second note run end in the left hand instead of crossing over.”
Submitted by Michael Clark
Published on 10/6/2023
“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
“I don’t mind start with 1 on a black key when it facilitates a consistent fingering pattern.”
Submitted by Michael Clark
Published on 1/3/2021
“This is an easy change because the right hand is already playing octaves and the left hand has awkward material at this crazy fast tempo.”
Submitted by Josh Condon
Published on 6/7/2020
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 24, 82.
24: “The redistribution of notes in the measures of Example 3 enables the pianist to maintain identical chordal hand positions which are transferred to each register of the keyboard; the fluid undulation of the arpeggios simulates the rolling waves of an ocean.”
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 25, 83.
24: “The redistribution of notes in the measures of Example 3 enables the pianist to maintain identical chordal hand positions which are transferred to each register of the keyboard; the fluid undulation of the arpeggios simulates the rolling waves of an ocean.”
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 83.
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 84.