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), 124.
Original:
Suggested performance:
“Arpeggiating the 11th in the right hand in m. 19 causes a break in the melody for most hands. Treating the bass E as a grace note and catching it in the pedal allows the melody to remain legato with no pedal blurring.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking the first group of triplets in the right hand facilitates the position shift.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Taking the third triplet into the right hand avoids awkward crowding.”
Submitted by Michael Clark
Published 1/1/2020
“Assimilating the treble E into the left-hand chord allows the right hand to prepare for a graceful delivery of the next gesture.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“It’s an uncomfortable stretch for me to play the top line legato while keeping the inner voices in the right hand.”
Submitted by Michael Clark
Published on 1/1/2020
“I find this passage awkward with the left-hand alone. A little right-hand assistance allows for a smooth delivery.”
Submitted by Michael Clark
Published on 1/1/2020
“Taking these few notes in the left hand avoids any shifts or finger crossing in the right hand, allowing for a more graceful start to the scale.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“The D can be easily taken into the right hand if the stretch of a tenth is uncomfortable or awkward.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“If the stretch is uncomfortable in the right hand, the bottom line of the treble staff can be taken in the left hand.”
Submitted by Michael Clark
Published on 1/1/2020
“I have greater control over the voicing with this fingering.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“This redistribution is the feasible way to play this passage for most hand sizes.”
Submitted by Michael Clark
Published on 1/1/2020
“This redistribution requires few position shifts.”
Submitted by Michael Clark with thanks to Nancy Weems
Published on 1/1/2020
“Starting the scale with a left-hand octave is more secure.”
Submitted by Michael Clark
Published on 1/1/2020
“Transferring the scale to the right hand a little early allows the left hand to prepare for the chord.”
Submitted by Michael Clark
Published on 8/4/2021
“I find this distribution mentally more secure because my left-hand thumb consistently returns to D.”
Submitted by Michael Clark
Published on 1/1/2020
Submitted by Michael Lenahan
Published on 5/1/2020
Submitted by Michael Lenahan
Published on 5/1/2020