“Playing the final B of m. 17 with the left hand facilitates a smoother delivery of the top line, resulting in more consistent voicing. Taking the bottom of the E octave in the left hand eliminates a very awkward leap at a fast tempo.”
Submitted by Michael Clark with thanks to Robert Roux
Published on 1/1/2020
“This leap is easier as just a tenth with the left hand taking the E-flat.”
Submitted by Michael Clark
Published on 3/16/2020
“The top notes of some of the large chords in the left hand are within reach of the right-hand thumb, eliminating the needs for rolls on those chords.”
Submitted by Michael Clark
Published on 3/16/2020
“The use of the thumb for the seconds in the right-hand makes this passage easy to ‘throw off.’ As an added bonus, using the thumb (rather than 1-2) for the dyad keeps my hand in an open position (rather than a contracted position), which makes the passagework in m. 69 feel more comfortable.”
Submitted by Sarah Rushing
Published on 3/8/2023
“Catching the A in left hand helps achieve a smoother bass line with less reliance on the pedal.”
Submitted by Wade Troyer
Published on 12/14/2022
“I take the A-flat with the right-hand thumb for maximum security.”
Submitted by Michael Clark
Published on 1/4/2022
“Taking these dyads in the right hand eliminates several large leaps.”
Submitted by Michael Clark
Published on 3/12/2020
“Taking these dyads in the right hand saves the left hand from several large leaps.”
Submitted by Michael Clark
Published on 3/12/2020
“This fingering minimizes the shifts between in each chord in this quick and thickly written passage.”
Submitted by Michael Clark
Published on 10/14/2023
“The alto notes can be taken into the left hand in m. 12 without much trouble, freeing the right hand from awkward stretches.”
Submitted by Michael Clark
Published on 10/4/2020
“By taking the B and the A with the thumb in the left hand, this makes the right hand simpler.”
Submitted by Michael Lenahan
Published on 5/25/2020
Submitted by Brian Marks
Published on 3/8/2023
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), 60, 74.
60: “Legato fingering is very useful in shaping the melodic phrases of Ravel's music. All the measures in Example 44 use divisi fingering in order that the performer may attain a better legato connection between notes.”
Submitted by Michael Lenahan
Published on 5/1/2020
“The F-flat and D can be played with the left-hand thumb to facilitate a legato melody.”
Submitted by Michael Clark
Published on 4/13/2020