SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 38, 111.

37: “The measures in Example 19 from…Valses nobles et sentimentales further illustrate situations where the left hand is able to alleviate momentarily some right hand extension by playing selected notes in the passage-work.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 111.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 111.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 57, 112.

57: “Homophonic writing is a common feature of Ravel's style. Therefore, the pianist must be attentive to the horizontal line, as well as the balance of the vertical structures. When two hands share the chord, the balancing is made easier, as may be seen in Example 41.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/8/2022 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), 63–64, 112.

63: “The nostalgic reprise of an earlier theme in Valses nobles et sentimentales (Example 48) requires an extremely controlled touch at the slow tempo indicated by Ravel. The pianist can perhaps better control the tonal quality of each note by sharing the melody with both hands.”

“The left hand should be above the right hand.”

Submitted by Chris Madden

Published on 2/20/2020

"Although redistributions are frequently used to solve vertical problems, they can be used with equal success to preserve the graceful beauty of a horizontal line that would be more easily marred through finger crossings or traditional repeated-note fingerings."

Submitted by Jonathan Scofield

Published on 10/4/2020

"Although redistributions are frequently used to solve vertical problems, they can be used with equal success to preserve the graceful beauty of a horizontal line that would be more easily marred through finger crossings or traditional repeated-note fingerings."

Submitted by Jonathan Scofield

Published on 10/4/2020

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/4/2022 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), 113.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 29, 113.

27–28: “The pianist who performs Ravel's virtuosic music must be able to blend the numerous notes into horizontal layers of sonority. By choreographing rapid figuration with an economy of hand, wrist, and arm motion, he can avoid abrupt shifts and jumps in hand positions which threaten the fluidity of Ravel's writing.... If both hands are used, the wide leaps in the accompaniment pattern do not disturb the rhythmic flow of the sixteenth notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 113.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 29, 113.

27–28: “The pianist who performs Ravel's virtuosic music must be able to blend the numerous notes into horizontal layers of sonority. By choreographing rapid figuration with an economy of hand, wrist, and arm motion, he can avoid abrupt shifts and jumps in hand positions which threaten the fluidity of Ravel's writing.... If both hands are used, the wide leaps in the accompaniment pattern do not disturb the rhythmic flow of the sixteenth notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 52, 114.

51: "All of Ravel's ornamentations are an inherent part of the melodic line and must be played with clarity, tone, and expression. Fingering is an important factor in the execution of the ornaments. When ornaments are written at the top of a chord or figuration, as in Example 35, divisi fingering will help the pianist avoid a four-five combination of fingers which is more difficult to control and to play with clarity."

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 114.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 114.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 114.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 114.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/2/2022 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), 114.