SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 45, 87.

45: “The divisi fingering of Example 27 is suggested for the pianist with small hands. The taut, guitar-like chords in the opening measures of ‘Alborada del gracioso’ are a problem technically, since the right-hand fifth finger has difficulty giving adequate brilliance to the top note of each chord. Stronger fingers and a less extended hand position—obtained with divisi fingering—will produce the desired speed and crispness.”

87, fn6: "The notes on the lower staff must be articulated and voiced independently of the divided chords."

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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, 87.

52: “Two recurring figurations in the opening section of ‘Alborada del gracioso’ are ornamental within the context of the melodic line. Example 36 shows one method of playing the right hand triplet figure which is difficult as notated, since it covers the interval of a ninth and must be played forte. The notes on the upper staff are easier for the small hand to play when the rotation of the wrist up from the major-second is eliminated.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 53, 87.

53: “Example 37 illustrates a second ornamental figure from ‘Alborada del gracioso’ which can be executed crisply with the second and third fingers when the left hand takes the notes beneath it.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 53, 87.

53: “Example 37 illustrates a second ornamental figure from ‘Alborada del gracioso’ which can be executed crisply with the second and third fingers when the left hand takes the notes beneath it.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 39, 88.

38–39: “When fingering is especially awkward for one hand, the redistribution of even one or two notes immediately eliminates the struggle of performing the music as it is scored. The extremely difficult glissando-like passage from ‘Alborada del gracioso’ (Example 20) is a good example of this. The right hand thumb needs time (which it does not have) to reach for the second diminished-third in the gesture; as an alternative, the left hand can play the lower note of the interval and thus preserve the momentum and clarity of the glissando .”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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, 88.

45: “A clean repetition of the single note on the piano can be attained by alternating the thumbs whenever possible. This alternation also has the advantage of breaking the tension which can build up in the right hand when it plays long passages of repeated notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 42, 88.

 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…. With divisi fingering, the angularity of abrupt motion from one register to another is lessened by allowing the right hand more time to move.”

42: “When dividing the notes in the measures of the next example (Example 23), the jumps notated on the upper staff will not affect the rhythmic momentum of the passages.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 65, 88.

64: “The monotony of the dissonance which envelops the melody in the measures of the next example (Example 50) can more easily be controlled when the left hand plays the lowest interval of the sonority.”

88, fn7: "The pianist may divide the chord as shown, whenever possible, for better color and tonal balance."

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/26/2022 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), 88.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 89.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 89.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 32, 89.

31–32: “When a pianist performs Ravel's difficult music, the accurate playing of the notes is threatened by the quick changes from one hand position to another. One way to improve accuracy is to use fingering which requires a minimum of hand movement. Example 13 cites measures from ‘Alborada del gracioso,’ ‘Une Barque sur l'ocean,’ and the Sonatine which involve rapid jumps that can be avoided with divisi fingering.'“

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 89.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 55, 89.

54: “The rolled chords in Example 38 must all be played quickly so they do not disturb either the rhythmic pulse or the phrasing. In each case, divisi fingering eliminates the wide stretch required of one hand. Example 38 illustrates how the notes in each rolled chord may be shared by both hands. …[T]he redistribution of notes in ‘Alborada del gracioso’ insures the crispness and brilliance of the measure.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 90.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 25, 90.

25: “When sharing rapid figuration, it is essential that the notes be located close to the hand that plays them. In Example 4, the harmony is arpeggiated down three octaves between the left and right hands. The result is a brilliant fast-gliding effect—accomplished more easily by using both hands, than by using the right hand alone.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 44, 90.

43: “There are many fortissimo passages in Ravel's keyboard music which require great strength and power.The pianist must work out fingering which gives him the most comfortable hand position and uses the strongest fingers. Example 25 cites measures in which notes can be divided so that the jumps do not diminish the tonal brilliance of the notes on the upper staff.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/27/2022 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), 59, 91.

57–58: “Dividing notes between the hands in order to attain legato fingering may enhance the pianist's musical efforts…. Other measures where an octave melody may be divided between the hands are cited in Example 43. In ‘La Vallée des cloches,’ Ravel gave some indications that the octaves are to be divided; these measures are presented in the example to clarify Ravel's markings.”