SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 84.
SPECIAL COLLECTION | Dorothy Brandwein’s Ravel Fingerings
Published on 4/25/2022 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), 84.
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), 84.
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), 36, 84–85.
35: “Example 17 contains measures from several of Ravel's piano pieces in which an extended pattern is written for one hand or the other. In passages such as these, divisi fingering can alleviate any muscular tension which might occur from the constant use of one hand.”
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), 35, 85.
34: “Divisi fingering can diminish interference between the hands in many measures that have a complex harmonic texture or figuration. Example 16 shows measures…which have in common the necessity for a blend of notes at great speed and at very soft dynamic levels.”
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), 86.
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), 86.
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), 86.
“The right hand is already on these notes. Why move?”
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), 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.”
Submitted by John Kline with thanks to Igor Resnianski
Published on 2/29/2020
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), 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.”
“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.”