SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/7/2022 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), 60, 108.

60: “Legato fingering is very useful in shaping the melodic phrases of Ravel's music. All the measures in Example 44 use divisi fingering in order that the performer may attain a better legato connection between notes.”

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/7/2022 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), 108.

SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings

Published on 4/7/2022 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), 109.

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, 109.

63: “Careful control of dynamics and voicing is an integral factor to the shaping of Ravel's melodies. Example 47 contains measures from two waltzes and the ‘Menuet.’ 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.”

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), 109.

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), 109.

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), 110.

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), 60, 110.

60: “Legato fingering is very useful in shaping the melodic phrases of Ravel's music. All the measures in Example 44 use divisi fingering in order that the performer may attain a better legato connection between notes.”

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), 33. 110.

33: “The hand-crossings in Example 14 are simplified by allowing the hands to remain in stationary positions.”

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, 111.

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), 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), 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