“Fitting the first repeated note in mm. 53, 55, and 57 into the left-hand chord helps negotiate the small leap in the right hand.”

Submitted by Michael Clark

Published on 1/10/2020

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.

“This fingering is less jumpy and still looks and sounds great!”

Submitted by Michael Clark

Published on 1/10/2020

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.

“My right hand appreciates the fewer number of position shifts required by this fingering.”

Submitted by Michael Clark

Published on 1/10/2020

“The top note of the left-hand figure can be incorporated in the right hand chords, allowing the left hand to remain in one position. This distribution of the final rolled chord facilitates a more brilliant top (sometimes I simply block the top three notes in the right hand).”

Submitted by Michael Clark

Published on 1/10/2020

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.

“Redistributing these grace notes as indicated above allows for a stronger left-hand fingering and sets up a serviceable hand-over-hand fingering on the descending arpeggio.”

Submitted by Michael Clark

Published on 1/10/2020

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.”

“Taking the G in the left hand eliminates a position in the right hand and allows just enough rest to facilitate the climactic speed and power required of the passage.”

Submitted by Michael Clark

Published on 1/10/2020

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.”