Piano Fingerings Database

RAVEL | Le Tombeau de Couperin: Menuet: mm. 19–21

Piano fingerings for Menuet from Le Tombeau de Couperin by Maurice Ravel

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), 119.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve voicing, improve legatoComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 33–60

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), 58, 120.

57–58: “Dividing notes between the hands in order to attain legato fingering may enhance the pianist's musical efforts. The entire middle section of the ‘Menuet’ illustrates the difficulty of voicing and phrasing sensitively the melodic harmonies played by the left and right hands. By diminishing some of the vertical motion required in playing the chords as they are scored, the pianist can better control the voicing of the octave melody and sustain the long phrases of sonority.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve voicing, improve legatoComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 81–84

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), 121.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve voicing, facilitate ornament, use stronger fingersComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 85–88

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), 121.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve legato, use stronger fingers, improve voicingComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 90–92

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), 121.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, reduce position shifts, uncross, avoid crowding, improve voicing, improve legato, use stronger fingersComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 120–21

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), 121.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, divide more evenly between hands, avoid stretchComment

RAVEL | Le Tombeau de Couperin: Menuet: mm. 126–28

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), 51, 121.

50: “Ravel experimented with the effect which is produced when two harmonies are repeated in rapid succession at the softest dynamic level possible. Divisi fingering allows the pianist to easily coordinate the rapid alternation of the two sonorities…”
51: “The same technique may be used for the double-note trill at the end of the ‘Menuet,’ in order to preserve the sounding intervals of a third. If the right hand depresses the final notes of the trill, as marked, the left hand is free to depress silently the bass notes as the pedal clears all vibrations extraneous to the tonic harmony.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, trill, facilitate clearer pedaling, alternating hands, tremoloComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 5–8

Piano fingerings for Toccata from Le Tombeau de Couperin by Maurice Ravel

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), 30, 122.

30: “Example 11 illustrates measures from the ‘Toccata’ where repetitive shifts of the thumb can be partially averted with divisi fingering.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, divide more evenly between hands, break up running passage, avoid stretch, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 11–13

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), 37, 122.

37: “Pianists with small hands find that their speed and accuracy are particularly affected by the tension that builds during prolonged passages requiring an extended hand position. The ‘Toccata’ is very challenging for this reason. In Example 18, the left hand can easily help the right hand by sharing the notes on the upper staff.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, divide more evenly between hands, break up running passage, repeated notes, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 21–22

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), 122.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, break up running passage, reduce position shifts, divide more evenly between handsComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 35–39

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), 24, 122.

24: “In Example 2, the left hand is conveniently located to play some of the notes on the upper staff so that the right hand remains extended to play the parallel chords.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, reduce position shifts, avoid finger crossing, divide more evenly between hands, break up running passageComment

RAVEL | Le Tombeau de Couperin: Toccata: m. 41

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), 123.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Toccata: m. 50

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), 123.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, repeated notes, divide more evenly between hands, broken octavesComment

RAVEL | Le Tombeau de Couperin: Toccata: m. 74

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), 123.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, redistribution, Dorothy Brandwein, break up running passage, divide more evenly between hands, reduce position shiftsComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 76–80

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), 37, 44, 123.

37: “Pianists with small hands find that their speed and accuracy are particularly affected by the tension that builds during prolonged passages requiring an extended hand position. The ‘Toccata’ is very challenging for this reason. In Example 18, the left hand can easily help the right hand by sharing the notes on the upper staff.”
44: “In Example 26 the use of the fifth finger is generally avoided so that every note can be more easily played at a fortissimo dynamic.”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, reduce position shifts, divide more evenly between hands, break up running passage, use stronger fingers, maximize power, alternating handsComment

RAVEL | Le Tombeau de Couperin: Toccata: m. 154

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), 123.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, reduce position shifts, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 167–68

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), 123.

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, facilitate leapComment

RAVEL | Le Tombeau de Couperin: Toccata: mm. 173–75

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), 46, 123.

46: “The passage shown in Example 29 is yet another illustration of the way divisi fingering can give speed and clarity to repeated notes. In these measures, facility is increased when the left hand plays every other group of two repeated notes; the right hand then has more time to find the dominant-seventh chord positions”

Solo Piano, Special CollectionMichael ClarkApril 10, 2017Maurice Ravel, Le Tombeau de Couperin, LTdC Toccata, Dorothy Brandwein, redistribution, reduce position shifts, repeated notes, break up running passage, divide more evenly between handsComment