“Taking the alto line in the left hand frees the right for an expressive triplet that matches the singer without worrying about a polyrhythm within one hand.”

Submitted by Michael Clark

Published on 3/17/2020

“Keeping the accompaniment figure in the left hand in m. 12 helps the melody line to be more legato.”

Submitted by Michael Clark

Published on 3/17/2020

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 91.

91, fn8: “The notes on the upper two staffs are indicated by Ravel to be played with the right hand. However, the edited fingering is offered in order to avoid playing the two-against-three rhythm with the same 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), 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), 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), 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.