Posts in Special Collection
RAVEL | Le Tombeau de Couperin: Fugue: mm. 40–42
 
Piano fingerings for Fugue from Le Tombeau de Couperin by Maurice Ravel

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.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, separate polyrhythm, facilitate polyphonyComment
RAVEL | Le Tombeau de Couperin: Fugue: mm. 35–37
 
Piano fingerings for Fugue from Le Tombeau de Couperin by Maurice Ravel

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, Solo PianoMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, facilitate polyphony, separate polyrhythm, facilitate articulationComment
RAVEL | Le Tombeau de Couperin: Fugue: mm. 46–47
 
Piano fingerings for Fugue from Le Tombeau de Couperin by Maurice Ravel

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.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, facilitate polyphonyComment
RAVEL | Le Tombeau de Couperin: Fugue: m. 60
 
Piano fingerings for Fugue from Le Tombeau de Couperin by Maurice Ravel

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.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Fugue, Dorothy Brandwein, redistribution, separate polyrhythm, facilitate polyphonyComment
RAVEL | Le Tombeau de Couperin: Forlane: m. 33
 
Piano fingerings for Forlane from Le Tombeau de Couperin by Maurice Ravel

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), 41, 117.

40: “Rapid leaps from one range of the keyboard to another require extra energy and may interrupt the flow of both the rhythm and the phrasing. However, a pianist can maintain his energy level while increasing his accuracy and musical expression by dividing notes, as shown, in the measures of Example 22. With divisi fingering, the angularity of abrupt motion from one register to another is lessened by allowing the right hand more time to move.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Forlane, Dorothy Brandwein, reduce position shifts, facilitate leapComment
RAVEL | Le Tombeau de Couperin: Forlane: m. 38
 
Piano fingerings for Forlane from Le Tombeau de Couperin by Maurice Ravel

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), 47, 117.

46: “When possible, a pianist with small hands should divide the notes in wide-spaced chords, rather than rolling them with one hand alone.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Forlane, Dorothy Brandwein, redistribution, avoid stretch, avoid rollComment
RAVEL | Le Tombeau de Couperin: Forlane: mm. 40–42
Piano fingering for Forlane from Le Tombeau de Couperin by Maurice Ravel

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), 52, 117.

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."

Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Forlane, Dorothy Brandwein, redistribution, facilitate ornament, use stronger fingersComment
RAVEL | Le Tombeau de Couperin: Forlane: mm. 136–37
 
Piano fingerings for Forlane from Le Tombeau de Couperin by Maurice Ravel

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), 47, 118.

46: “When possible, a pianist with small hands should divide the notes in wide-spaced chords, rather than rolling them with one hand alone.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Forlane, Dorothy Brandwein, redistribution, avoid stretch, avoid rollComment
RAVEL | Le Tombeau de Couperin: Rigaudon: m. 1
 
Piano fingerings for Rigaudon from Le Tombeau de Couperin by Maurice Ravel

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 5/4/2022 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), 118.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Rigaudon, Dorothy Brandwein, redistribution, reduce position shifts, improve voicingComment
RAVEL | Le Tombeau de Couperin: Rigaudon: m. 8
 
Piano fingerings for Rigaudon 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), 47, 118.

46: “When possible, a pianist with small hands should divide the notes in wide-spaced chords, rather than rolling them with one hand alone.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Rigaudon, Dorothy Brandwein, redistribution, avoid roll, avoid stretchComment
RAVEL | Le Tombeau de Couperin: Rigaudon: mm. 11–12
 
Piano fingerings for Rigaudon 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), 118.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Rigaudon, Dorothy Brandwein, redistribution, reduce position shifts, divide more evenly between handsComment
RAVEL | Le Tombeau de Couperin: Rigaudon: mm. 18–19
 
Piano fingerings for Rigaudon 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), 118.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Rigaudon, Dorothy Brandwein, redistribution, reduce position shifts, divide more evenly between handsComment
RAVEL | Le Tombeau de Couperin: Rigaudon: m. 35
 
Piano fingerings for Rigaudon from Le Tombeau de Couperin

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), 118.

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Rigaudon, Dorothy Brandwein, redistribution, avoid roll, avoid stretchComment
RAVEL | Le Tombeau de Couperin: Menuet: mm. 1–3
 
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), 63, 119.

62: “Careful control of dynamics and voicing is an integral factor to the shaping of Ravel's melodies…. When the left hand plays some of the notes on the upper staff, the right hand can better balance the harmony while expressively shaping the melodic line. The ear must always be aware of the voice-leading indicated by the composer.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve voicing, facilitate ornament, use stronger fingersComment
RAVEL | Le Tombeau de Couperin: Menuet: mm. 9–12
 
Piano fingerings for Menuet 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), 63, 119.

62: “Careful control of dynamics and voicing is an integral factor to the shaping of Ravel's melodies…. When the left hand plays some of the notes on the upper staff, the right hand can better balance the harmony while expressively shaping the melodic line. The ear must always be aware of the voice-leading indicated by the composer.”

 
Solo Piano, Special CollectionMichael ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, facilitate ornament, improve voicing, use stronger fingersComment
RAVEL | Le Tombeau de Couperin: Menuet: mm. 15–18
 
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 ClarkMaurice Ravel, Le Tombeau de Couperin, LTdC Menuet, Dorothy Brandwein, redistribution, improve voicing, improve legato, isolate melodyComment