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.
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”
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.
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), 42, 124.
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 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), 42, 124.
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 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.
Submitted by Ben Pawlak
Published on 3/29/2020
Submitted by Ben Pawlak
Published on 3/29/2020
Submitted by Ben Pawlak
Published on 3/29/2020
Submitted by Ben Pawlak with thanks to Dr. Greg DeTurck
Published on 3/29/2020
“Taking these two notes in the left hand allows the right hand just enough time to prepare for the grace notes.”
Submitted by Michael Clark
Published on 4/13/2020
“Taking the chord in the left hand gives the right hand time to move to its new position.”
Submitted by Michael Clark
Published on 4/13/2020
“I like maintaining the pattern of alternation between the hands.”
Submitted by Michael Clark
Published on 1/12/2020
“Taking the final notes of the arpeggio together as a sixth ensures a tidy ending.”
Submitted by Michael Clark
Published on 1/12/2020
“Splitting the notes this way can help make the staccato chords more crisp without the need of rolling them.”
Submitted by Wade Troyer
Published on 9/27/2022
“Splitting the notes this way can help make the staccato chords more crisp without the needing of rolling them.”
Submitted by Wade Troyer
Published on 9/27/2022
“Dividing between hands makes this a lot easier to play at the fast tempo this movement demands.”
Submitted by Wade Troyer
Published on 9/27/2022
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