It's because he's linked with the Impressionist movement after the Romantic Period, just like Debussy. So it's very beautiful and masters tone colour, yet embraces the unique rhythm, chord progression and scales that composers of the 20th century really experimented with. I think his style of music really captures the pure nature of the subject of his piece in great depth :)
***** I wouldn't say 'blantant' because the two terms often work together, yet are slightly different. This piece is about the tone and feeling of familiar surroundings- the ocean, therefore in this way it can be impressionist. If it was symbolism it would be making a statement about modern life and refer to other literature and mythology. They can work hand in hand though because some like Debussy and Ravel compose the musical version of symbolist poems, therefore their music becomes symbolism too.
Hello, I want to share with you my piece for wind quintet, inspired by the French musical trend and the painting "Le Bassin aux Nymphéas, le Soir" by Claude Monet. I hope you will enjoy it ua-cam.com/video/kshcZesMSP0/v-deo.html
I love the way he uses the upper extension chord tones here, especially when they show up in the melody. I love how the melody has this off-beat pulse too. He creates so this beautiful ambiguity between A Major and F# Minor which adds to the wave-like nature of the piece. Truly a beautiful piece, and I love it more with each listen.
***** It's weird though because most of the time he writes a low A as a substitute for a G#, and he even does it in this piece a few times, but then there's one time where he requires a low G#. You'd think he'd just ask for a G# all the time if he were writing for a piano with an extended range lol.
Scarbo from Gaspard de la Nuit has what was clearly intended to be an octave doubling, where the lower voice would be G0 (actually F double-sharp but whatever) and G#0 - out of range for standard pianos. It's written as A and A#, so you end up with minor 7ths instead of octaves. Interesting. One wonders if an editor "corrected" what Ravel actually wrote there.
one of my favorite pieces from ravel. his works are absolutely phenomenal! this piece reminds me of an ocean fantasy, beautiful and has that magical touch. i love pieces like these. they make me feel relaxed.
I really believed he dreamed this music and only closed missing gaps by improvising without knowing what he was actually doing while he composed it. This guy was indeed a genius
Ravel was a meticulous craftsman and an exceptionally learned composer who deliberated painstakingly over his work…this sort of sentimental twaddle really does nothing to help the musical community.
If I didn’t know anything about Ravel, I could definitely see it. There certainly is an unmeasured, dreamlike quality about his music. However, I can assure you that his strategies of composition are extremely calculated
As someone also learning this there are some tricks. First off, it's a good idea to practice the opening left hand arpeggio on its own without pedal until you can get it completely even, then put the pedal in. Later on, look out for chord what chord each arpeggio is making. It'll make it far easier to digest if you only have to think "G# minor" instead of trying to read so many individual notes. Ravel is actually pretty nice to you with this unlike other composers such as chopin who make things more fiddly and difficult to find patterns in. I find a lot with Ravel that it's not as difficult as it first looks once you can see what he's doing. You don't necessarily need to do a full harmonic analysis but having some understanding of what each section is doing harmonically will help a lot. 1:22 was probably the most difficult section note-wise for this reason as it has the most going on in it, but actually if you can spot the whole tone-ish melody lines and then write down each underlying chord it becomes much simpler to think about. You're probably going to spend ages playing from 4:10 really slowly because that right hand is really annoyingly hard to get consistently right while you have so much going on in the left hand. If you can play that without thinking about it or looking at your right hand then you're probably good to put the left hand in. Weirdly, the climax is the easier part. I haven't gone any further than that yet but there's some things I did while learning. Giant ass text wall but maybe useful? Good luck with learning it!
@@zekromplayspiano Thank you so much! That's really helpful. I can play up until about 1:02 fairly well I just play it a lot slower than in the recording. But I will definitely use your tips. Thanks again!!
@@cornelius3583 First off, it's not 5/8 at all, those are unequal eighth notes. The first two are duplets, the last three are triplets. If you count up the 32nd notes, you'll find enough for a full 6/8 bar (or 2/4 bar with triplets). The 6/8+2/4 basically means that both meters happen at the same time. There's duplet 8ths and "triplet" 8ths (normal 8th noted in 6/8). The 32nds are counted in 6/8 (there's too many for a 2/4 bar), but as you can see there 2 sets, 2 halves, like in a 2/4 bar. Hope that makes some sense.
jeffreyFUU If my assumption is correct, it's all about where the pulse lands. 6/8 generally feels split down the middle with the pulses landing on 1 and 4 as if you were just playing triplets in a 2/4.
jeffreyFUU i don't care that you wrote that a month ago you're about to get schooled. Ok. so time signatures are not ratios. The top number tells you how many beats or subdivisions in a measure, bottom number tells you what kind of note gets one beat. When the top number is divisible by 2, you're in simple meter. That means the top number tells you how many beats in a bar, and they're subdivided in 2. When the top number's divisible by 3 you're in compound meter. That means you divide the top number by 3 and thats how many beats in a bar, and those beats are subdivided in 3. (if its divisible by 2 and 3 its compound.) So technically, 2/4 and 6/8 have the same number of beats, but in 2/4 the beat is subdivided in 2 and in 6/8 the beat is subdivided in 3. So 2/4 is like 1 and 2 and 1 and 2 and and 6/8 is like 1 and a 2 and a 1 and a 2 and a so you have the overlaping of 2 and 3 but the beats line up. very cool
I think that's a perfect description. This piece is indeed beautiful. You almost feel like you are on the boat Ravel was describing, flowing with the waves around you (which might be daunting on their own as well). It is also very difficult to play as you need to be extremely loose and precise at the same time. It is therefore also daunting when attempting to master it.
I thought I was listening to this for the first time before I realised it was in that film which I’d already seen. Sad I didn’t recognise its beauty then.
When I listened this music I can’t stop to cry because it’s reminded me my mom. She died 2 months ago so I imagine that she is a boat in the ocean and waves take her away from me so it’s so sad and I cry
@colaband96 I've never worked on this one, but I have sightread through it a few times for fun. It's pretty challenging, especially when it comes to stamina, the notes are relentless. My teacher has the mentality that life is too short for Hanon-if you're going to do scales or arpeggios, pull it straight out of the pieces that you're working on.
very true ,I started putting my focus on these technique exercises but It really got me bored and then I thought what's the purpose if you're not making music/art .We can develop our technique skills just by studying things that we actually love and are attractive to us ,not something that leaves us with a poker face and not giving pleasure while working (on it) .I think it's fun working on scales and arpeggios , I do it almost every day , but Hanon... I dont think so
@Xandertrax No, the time signature means that you can either count as 6/8 or 2/4. Because the first half of each bar is in a group of two notes while the latter half is in a group of three. So you can either count as 6/8 and turn the first half of the bar into duplets or count as 2/4 and turn the latter half into triplets
Bonjour, je souhaite partager avec vous ma pièce pour quintette à vent, inspirée du courant musical français et du tableau "Le Bassin aux Nymphéas, le Soir" de Claude Monet. Je vous souhaite mes meilleurs voeux ua-cam.com/video/kshcZesMSP0/v-deo.html
A lot has changed, and not everything for the better. Yes I have composed some music but circumstances have made that impossible, sadly. Thank you for asking, time flies indeed. Hope you are doing well.@ravelesque1
The opening theme in the beginning is the most beautiful thing the single note accents amongst the wave of notes so intoxicating it’s the only reason I decided to learn this piece 😂 . But so darn hard lol
Going well, have not dedicated much time as I should but made it to around 2 min. Thanks for asking! The beginning becomes natural to the left hand after playing it long enough lol
Forgive for disagreeing, but I believe exercises like Hanon, among others, are absolutely essential for a pianist. I just started studying Hanon intently, playing the whole book with all the repeats as a warm up before I actually start practicing. My individual finger strength has improved immensely and it becomes much easier to learn pieces quickly. All opinion based though, I guess.
Yes, especially if you're new to the piano. Later on tho you'll want move on to practicing scales arpeggios. They're better for improvisation and tackling the likes of liszt and ravel.
Hanon is ok, but I prefer Czerny as the work is a bit more melodic, though some technique is sacrificed. In my opinion, Hanon is not enjoyable to play. I do not like practicing technique for the sake of technique, and although it is amazing to hear a person playing scales, arpeggios, and octaves very fast, learning pieces is better in my opinion. You won’t even need Czerny if you pick pieces based on their technical benefit to you. Say, you need to improve chromatic scales, then learn flight of the bumblebee, as although we as musicians dislike it, audiences like the piece, so it can be a crowd pleaser. If you need to focus on hand independence, pick up a Bach invention or fugue. If you need help with fingers 4 and 5, look for pieces that have lots of use for finger 4 and 5 (something like finger 3 and 4 trills or 4 and 5 trills). When you are a beginner and can’t isolate technique in pieces, that’s when a teacher comes in handy. Once you have more experience though, you can easily look for pieces with certain techniques. If you are really struggling, don’t pick pieces that are your “level”. If you are grade 7 but can’t play arpeggios, pick a grade 5 piece with arpeggios. It will still feel rewarding to play and learn, while also being manageable to improve technique.
They are not. Plenty of incredible pianists out there who never as much as practiced scales, let alone Hanon, like Richter or Argerich. That said, the rest of us humans might have to...
Being able to view the score in this manner is great fun. Thanks for that, I sometimes find Thibaudet's tone to be irritatingly thin; that is certainly not the case here, This an outstanding interpretation especially if you like your Ravel on the objective side.
Music that breathes silence and a grandeur that modern times no longer recognize, times without sources, without truth, without hierarchy, without future!
I use it as a warm-up for my practice. Couple of spots require special stretching and some hand substitutes in order to play clean, but overall it is performable. I always get awe comments when I play it on my gigs.
Indeed, for the execution of that note you need the Imperial :P My teacher told me that you are allowed to play A, because you don't really notice the difference(though the other harmonics etc.) it's still the same effect. Prove of this measure - Ravel does this in his Jeux d'eau, there is a passage where you can clearly see, that there should be a low G-sharp because of the harmonic context, but he writes an A (he didn't know pianos going lower than A in 1901, he wrot this piece in 1904-05).
0:00 A melo + fondo 0:29 B gestos 0:41 A melo + fondo 1:00 B gestos 1:22 c 1:49 d (repite 3 veces mismo gesto) 2:13 (?) puente segunda parte 3:02 A melo + fondo 3:23 D (repite gestos 3 veces) 5:45 D 7:07 coda
Lauriie it means it switches between 6/8 and 2/4 so frequently that it makes more sense to just say that it does rather than change it all the time. Just for the simplicity of reading :)
I think it's a bit of a joke by Ravel. He writes several As instead of a low G#s throughout the piece anyway, and he knew perfectly well that no pianos had a low G#, so...
It' s something like a signature, a suggestion to tune the piano down, lower than the crappy 440hz standard, i think down to 432, 428 if your piano is capable to.
A matter of opinion. Rachmaninoff used Hanon (Murray Perahia told me that when I asked *him* what he did for technique and specifically mentioned Hanon; Perahia uses the Chopin Etudes himself). And I know that Mme. Lhevinne did her scales every day into old age. Have you ever heard the recording of the Chopin e-minor Concerto she made in her 80s? I think there are a lot of ways to get to the same end. Playing a lot of Bach is another tremendous aid to technique. Also good for the soul.
@grimmbo93 It's a mix of 6/8 and 2/4. The RH is in 6/8, while the LH is in 2/4. Different notation would just put the two staves in the different time signature, but this edition chose to smoosh them both together. It's the same time signature as the beginning, though the hands' roles are reversed.
I have to say that it's probably a rubato, and yet, it's so beautiful the way he handles this and the other four movements, that I can't say anything at all about his approach. Xandertrax is right... it stands out from all the others.
@Xandertrax My teacher said the reason that you should do scales and hanon, is because it takes your performance to a whole new level. she said when you learn Ravel that you should also do many scales, cadences, arpeggios, and hanon so that if you play it at a performance, it sounds so much better
I think Ravel is telling the performer to sort of shift between those two meters at the performer’s discretion, or even to play in both meters at once where appropriate. Of course the accents, melodic contours, arpeggio figurations, etc. make it pretty clear which of the two meters he has in mind for a given measure/half measure.
Oliver : Is there anything you don't know? Elio : I know nothing, Oliver. Oliver : Well, you seem to know more than anyone else around here. Elio : Well, if you only knew how little I really know about the things that matter. Oliver : What "things that matter?" Sorry to all the non cmbyn stans✨ btw this music is a piece of art
Ma non è che che ci troviamo di fronte ad un caso di "minimalismo" allo stato emrionale??? L'inizio che ripete sempre la stessa figurazione... Che genio Maurice!
Adding to Matt Allen. It's not the tempo you're referring to, it's the time signature. And the time signature is not a ratio, even though it looks like one. It's made of two numbers, one placed above the other. The upper one denotes the number of beats per measure; the lower one denotes what kind of note carries the beat. In this case, we're given two quarter-notes per measure, or six eighth-notes per measure (grouped as two sets of three). The composer is alerting the musician that the measures will carry two beats, but the beats will be subdivided into twos OR threes.
I thought about it again. I think this sheet was idealised by the editor/publisher. I found another edition (maybe orginal?), where the G-sharp is substituted by the conventional A. Interesting. Something which would be against our theory is, that Ravel wrote as a final chord for the third movement of his Piano Concerto in G (1929-1931!!!!!) lowA+G , which should clearly be an octave. He wasn't that sure that the pianos have the extended range. But yeah, right, they aren't in tune anyway! :D
We know that Ravel was in contact with his first pianist friends Jacques Février and Marguerite Long who both worked with the composer before their first public performances... and they learned from each other - ravel about piano technique and the pianists about interpretation...
Is this physically (not technically) as hard to play as it looks. my piano teacher said Ravel is difficult, but can be played very well by doing hanon, and scales and such'
It's funny how people get so hyped about fast/precise video game execution, when their button mashing is super lame and slow compared to a performance of a tune like this. I'ma start sending them over
No, the way he plays it is correct. The time signature is 2/4 6/8, so effectively the second half of each bar is in triplets, with the first one tied to the previous note. (Hope that makes sense!)
Ravel's musical style is surely unique. I like him.
+Infinity ßounds (Matthew) Depends on how you look at them, some put Debussy in the same category as him.
It's because he's linked with the Impressionist movement after the Romantic Period, just like Debussy. So it's very beautiful and masters tone colour, yet embraces the unique rhythm, chord progression and scales that composers of the 20th century really experimented with. I think his style of music really captures the pure nature of the subject of his piece in great depth :)
***** I wouldn't say 'blantant' because the two terms often work together, yet are slightly different. This piece is about the tone and feeling of familiar surroundings- the ocean, therefore in this way it can be impressionist. If it was symbolism it would be making a statement about modern life and refer to other literature and mythology. They can work hand in hand though because some like Debussy and Ravel compose the musical version of symbolist poems, therefore their music becomes symbolism too.
ummm i think gaspard de la nuit was composed just to beat islamey... that was actually ravel's intention
@@kwkarlwang it's still pretty beautiful
Relaxing to hear but not to play.
Depends on your technique.
@@tedpiano you need ENORMOUS technique.
@@solidsnake9332 some of the stretches hurt to play unless you have big hands.
@@prathameshp3013 I mean, it still hurts with big hands...
I can say from experience this piece is very tiring to play...
It does indeed require enormous technique and practice.
One of the most beautiful pieces of music ever written.
2:43
Stunning. Ravel was truly a genius in capturing an image.
the sudden modulation to Db major which is a calm flat key gives it that tone. Simply divine
here is a magical composer who takes us away to far away places--but also far away places in our mind--dreamscapes....
Hear hear
Hello, I want to share with you my piece for wind quintet, inspired by the French musical trend and the painting "Le Bassin aux Nymphéas, le Soir" by Claude Monet. I hope you will enjoy it ua-cam.com/video/kshcZesMSP0/v-deo.html
Well put
I love the way he uses the upper extension chord tones here, especially when they show up in the melody. I love how the melody has this off-beat pulse too. He creates so this beautiful ambiguity between A Major and F# Minor which adds to the wave-like nature of the piece. Truly a beautiful piece, and I love it more with each listen.
I love how people are arguing about the time signature when there's a note in this piece that isn't possible on modern pianos.
***** It's weird though because most of the time he writes a low A as a substitute for a G#, and he even does it in this piece a few times, but then there's one time where he requires a low G#. You'd think he'd just ask for a G# all the time if he were writing for a piano with an extended range lol.
where is it?
it might be all over the place (didnt really bother to confirm), but at 2:11 there's a low G# at the start of the last bar
Scarbo from Gaspard de la Nuit has what was clearly intended to be an octave doubling, where the lower voice would be G0 (actually F double-sharp but whatever) and G#0 - out of range for standard pianos. It's written as A and A#, so you end up with minor 7ths instead of octaves.
Interesting. One wonders if an editor "corrected" what Ravel actually wrote there.
completely possible on several Bosendorfer models. they were even MORE rare when ravel wrote it than they are now ;P
one of my favorite pieces from ravel. his works are absolutely phenomenal! this piece reminds me of an ocean fantasy, beautiful and has that magical touch. i love pieces like these. they make me feel relaxed.
I really believed he dreamed this music and only closed missing gaps by improvising without knowing what he was actually doing while he composed it. This guy was indeed a genius
Either that or he borrowed some ideas from Rebikov:
ua-cam.com/video/lAkfffoHF3A/v-deo.html
Ravel was a meticulous craftsman and an exceptionally learned composer who deliberated painstakingly over his work…this sort of sentimental twaddle really does nothing to help the musical community.
If I didn’t know anything about Ravel, I could definitely see it. There certainly is an unmeasured, dreamlike quality about his music. However, I can assure you that his strategies of composition are extremely calculated
You don’t get 6/8 and 2/4 at the same time by accident lol
I'm trying to learn this piece and it's JuSt so GodDamN hArD
As someone also learning this there are some tricks. First off, it's a good idea to practice the opening left hand arpeggio on its own without pedal until you can get it completely even, then put the pedal in.
Later on, look out for chord what chord each arpeggio is making. It'll make it far easier to digest if you only have to think "G# minor" instead of trying to read so many individual notes. Ravel is actually pretty nice to you with this unlike other composers such as chopin who make things more fiddly and difficult to find patterns in. I find a lot with Ravel that it's not as difficult as it first looks once you can see what he's doing. You don't necessarily need to do a full harmonic analysis but having some understanding of what each section is doing harmonically will help a lot. 1:22 was probably the most difficult section note-wise for this reason as it has the most going on in it, but actually if you can spot the whole tone-ish melody lines and then write down each underlying chord it becomes much simpler to think about.
You're probably going to spend ages playing from 4:10 really slowly because that right hand is really annoyingly hard to get consistently right while you have so much going on in the left hand. If you can play that without thinking about it or looking at your right hand then you're probably good to put the left hand in. Weirdly, the climax is the easier part.
I haven't gone any further than that yet but there's some things I did while learning. Giant ass text wall but maybe useful? Good luck with learning it!
@@zekromplayspiano Thank you so much! That's really helpful. I can play up until about 1:02 fairly well I just play it a lot slower than in the recording. But I will definitely use your tips. Thanks again!!
Emily Claire do you guys know where I can find sheet music?
@@emilyclaireotto dont study this piece if you dont have an idea of technical aspects fully. Its beyond amateur. This is very advanced
ZekromPlaysPiano thank you so much for this you just saved me several mental breakdowns hahaha.
Such a heavenly composition!!!!
The music causes me a feeling of nostalgia, melancholy. It is also an excellent composition, love and I do not stop listening to it
My fav part 1:49 - 2:16. Sounds of waves. This sequence happens again for the Second time on: 3:26 - 3:54. 3rd time: 5:44 - 6:00
Imagery and impressionism there. Finest of the fine!
My favorite moments in the piece. He paints such a vivid picture
and it looks like them too lol
It's fun to play too, it really isn't bad at at all to play lol
There’s an example of why ravel is sometimes called “the king of arpeggios”
it is a like river. i cant explain how beautiful it is
More like, actually a boat in the middle of the ocean
@@888raquel yea
oh god, i thought at first the time signature was 62 over 84
Can someone explain why it that instead of 5/8?
@@cornelius3583 First off, it's not 5/8 at all, those are unequal eighth notes. The first two are duplets, the last three are triplets. If you count up the 32nd notes, you'll find enough for a full 6/8 bar (or 2/4 bar with triplets).
The 6/8+2/4 basically means that both meters happen at the same time. There's duplet 8ths and "triplet" 8ths (normal 8th noted in 6/8). The 32nds are counted in 6/8 (there's too many for a 2/4 bar), but as you can see there 2 sets, 2 halves, like in a 2/4 bar.
Hope that makes some sense.
that was me lol😂😂
It took me a while to understand that the tempo is: 6/8 OR 2/4.
Well Played, Mr. Trollvel
"6/8 or 2/4" doesnt quite make sense.. ratio of 2/4 is half... and 6/8 is more than a half..
jeffreyFUU If my assumption is correct, it's all about where the pulse lands. 6/8 generally feels split down the middle with the pulses landing on 1 and 4 as if you were just playing triplets in a 2/4.
jeffreyFUU i don't care that you wrote that a month ago you're about to get schooled.
Ok. so time signatures are not ratios. The top number tells you how many beats or subdivisions in a measure, bottom number tells you what kind of note gets one beat. When the top number is divisible by 2, you're in simple meter. That means the top number tells you how many beats in a bar, and they're subdivided in 2. When the top number's divisible by 3 you're in compound meter. That means you divide the top number by 3 and thats how many beats in a bar, and those beats are subdivided in 3. (if its divisible by 2 and 3 its compound.) So technically, 2/4 and 6/8 have the same number of beats, but in 2/4 the beat is subdivided in 2 and in 6/8 the beat is subdivided in 3.
So 2/4 is like 1 and 2 and 1 and 2 and
and 6/8 is like 1 and a 2 and a 1 and a 2 and a
so you have the overlaping of 2 and 3 but the beats line up. very cool
nailed it
Aaalllyyysssaaaaa
You proud that you took the time to write that?
I think that's a perfect description. This piece is indeed beautiful. You almost feel like you are on the boat Ravel was describing, flowing with the waves around you (which might be daunting on their own as well).
It is also very difficult to play as you need to be extremely loose and precise at the same time. It is therefore also daunting when attempting to master it.
im just thinking of elio and oliver
I thought I was listening to this for the first time before I realised it was in that film which I’d already seen. Sad I didn’t recognise its beauty then.
The best version I heard so far here on youtube.
André laplante version>>>
Thank you for posting this wonderful performance. Ravel's imagination was indeed magical.
When I listened this music I can’t stop to cry because it’s reminded me my mom. She died 2 months ago so I imagine that she is a boat in the ocean and waves take her away from me so it’s so sad and I cry
I am so sorry for your grave loss!
@colaband96 I've never worked on this one, but I have sightread through it a few times for fun. It's pretty challenging, especially when it comes to stamina, the notes are relentless. My teacher has the mentality that life is too short for Hanon-if you're going to do scales or arpeggios, pull it straight out of the pieces that you're working on.
very true ,I started putting my focus on these technique exercises but It really got me bored and then I thought what's the purpose if you're not making music/art .We can develop our technique skills just by studying things that we actually love and are attractive to us ,not something that leaves us with a poker face and not giving pleasure while working (on it) .I think it's fun working on scales and arpeggios , I do it almost every day , but Hanon... I dont think so
word
@Xandertrax No, the time signature means that you can either count as 6/8 or 2/4. Because the first half of each bar is in a group of two notes while the latter half is in a group of three. So you can either count as 6/8 and turn the first half of the bar into duplets or count as 2/4 and turn the latter half into triplets
Cette musique me bouleverse chaque fois que je l'entend...Ravel est extraordinaire!
Bonjour, je souhaite partager avec vous ma pièce pour quintette à vent, inspirée du courant musical français et du tableau "Le Bassin aux Nymphéas, le Soir" de Claude Monet. Je vous souhaite mes meilleurs voeux ua-cam.com/video/kshcZesMSP0/v-deo.html
Took me right back to what I was feeling during the movie
4:07 sounds almost identical to one of the climaxes in Liszt’s Un Sospiro
I was thinking the same thing!!!!
Ravel was very much inspired by Liszt’s works, especially his later more impressionist works.
This piece is so amazing. It inspires me to compose and play and let myself submerge in the music...
A lot has changed, and not everything for the better. Yes I have composed some music but circumstances have made that impossible, sadly. Thank you for asking, time flies indeed. Hope you are doing well.@ravelesque1
The opening theme in the beginning is the most beautiful thing the single note accents amongst the wave of notes so intoxicating it’s the only reason I decided to learn this piece 😂 . But so darn hard lol
How is it going?
Going well, have not dedicated much time as I should but made it to around 2 min. Thanks for asking! The beginning becomes natural to the left hand after playing it long enough lol
Forgive for disagreeing, but I believe exercises like Hanon, among others, are absolutely essential for a pianist. I just started studying Hanon intently, playing the whole book with all the repeats as a warm up before I actually start practicing. My individual finger strength has improved immensely and it becomes much easier to learn pieces quickly. All opinion based though, I guess.
agreed
I am doing the same
Yes, especially if you're new to the piano. Later on tho you'll want move on to practicing scales arpeggios. They're better for improvisation and tackling the likes of liszt and ravel.
Hanon is ok, but I prefer Czerny as the work is a bit more melodic, though some technique is sacrificed. In my opinion, Hanon is not enjoyable to play. I do not like practicing technique for the sake of technique, and although it is amazing to hear a person playing scales, arpeggios, and octaves very fast, learning pieces is better in my opinion.
You won’t even need Czerny if you pick pieces based on their technical benefit to you. Say, you need to improve chromatic scales, then learn flight of the bumblebee, as although we as musicians dislike it, audiences like the piece, so it can be a crowd pleaser. If you need to focus on hand independence, pick up a Bach invention or fugue. If you need help with fingers 4 and 5, look for pieces that have lots of use for finger 4 and 5 (something like finger 3 and 4 trills or 4 and 5 trills).
When you are a beginner and can’t isolate technique in pieces, that’s when a teacher comes in handy. Once you have more experience though, you can easily look for pieces with certain techniques. If you are really struggling, don’t pick pieces that are your “level”. If you are grade 7 but can’t play arpeggios, pick a grade 5 piece with arpeggios. It will still feel rewarding to play and learn, while also being manageable to improve technique.
They are not. Plenty of incredible pianists out there who never as much as practiced scales, let alone Hanon, like Richter or Argerich. That said, the rest of us humans might have to...
Schmitt helps as well!
Beautiful piece and wonderful performance.
Being able to view the score in this manner is great fun. Thanks for that, I sometimes find Thibaudet's tone to be irritatingly thin; that is certainly not the case here, This an outstanding interpretation especially if you like your Ravel on the objective side.
You are correct. He's playing the correct rhythm based on the time signature.
Ravel, always surprising me with his wonder pieces!!
Oh my gosh. I really love Ravel!
Indeed! The beginning motives with that later coming syncopations are real minimalism, before Glass! Ravel was such a genius.
Stop quarrelling about time signatures - this music is absolutely beautiful - sublime
no
yes
Music that breathes silence and a grandeur that modern times no longer recognize, times without sources, without truth, without hierarchy, without future!
before CMBYN and after CMBYN, this masterpiece lives a huge climate changing; excellent work thank you Maurice Ravel and thank you Luca Guadagnino
I use it as a warm-up for my practice. Couple of spots require special stretching and some hand substitutes in order to play clean, but overall it is performable. I always get awe comments when I play it on my gigs.
Because the song is freakin amazing
Indeed, for the execution of that note you need the Imperial :P My teacher told me that you are allowed to play A, because you don't really notice the difference(though the other harmonics etc.) it's still the same effect. Prove of this measure - Ravel does this in his Jeux d'eau, there is a passage where you can clearly see, that there should be a low G-sharp because of the harmonic context, but he writes an A (he didn't know pianos going lower than A in 1901, he wrot this piece in 1904-05).
So beautiful!
Thank you for sharing, this is one of my favorite❤
This reminds me of the sea's movements
How the waves can be calm at times but not at others
thank you for the beautiful playing and posting the music.
Very Beautiful. This is my favorite Ravel piece. :)
He Has a remarkable tone, a unique piano sound-
fantastic
02:14 that bad-ass low G sharp.
I do like these renditions. But I am curious what the arpeggios slowed down and then stylized would sound like? That time signature is very unique...
What a virtuoso 3:39 ....
0:00 A melo + fondo
0:29 B gestos
0:41 A melo + fondo
1:00 B gestos
1:22 c
1:49 d (repite 3 veces mismo gesto)
2:13 (?) puente
segunda parte
3:02 A melo + fondo
3:23 D (repite gestos 3 veces)
5:45 D
7:07 coda
wtf is that time signature
Lauriie it means it switches between 6/8 and 2/4 so frequently that it makes more sense to just say that it does rather than change it all the time. Just for the simplicity of reading :)
Great performance! Thanks for the info as well!
How do you play the G# at 2:15? I the lowest note available in my piano is A.. do you need a Bosendorfer imperial grand?
Just play the A. I think it's supposed to be more like a rumble anyways lol
***** Yeah I play it as an A for now but it sounds a little strange for me
I think it's a bit of a joke by Ravel. He writes several As instead of a low G#s throughout the piece anyway, and he knew perfectly well that no pianos had a low G#, so...
I think a piano with more than 88 keys was used (Imperial Bosen)
It' s something like a signature, a suggestion to tune the piano down, lower than the crappy 440hz standard, i think down to 432, 428 if your piano is capable to.
Other than the precision of the running I find getting the beginning’s middle voice good phrasing the hardest
Wonderful pianist
if he is still live, he would have made film musics
Don Quichotte a dulcinee - 1933
This is used in Call Me By Your Name which is a new movie of 2017
meraviglioso, meraviglioso, meraviglioso!!!!!!!!!!!
A matter of opinion. Rachmaninoff used Hanon (Murray Perahia told me that when I asked *him* what he did for technique and specifically mentioned Hanon; Perahia uses the Chopin Etudes himself). And I know that Mme. Lhevinne did her scales every day into old age. Have you ever heard the recording of the Chopin e-minor Concerto she made in her 80s?
I think there are a lot of ways to get to the same end. Playing a lot of Bach is another tremendous aid to technique. Also good for the soul.
This is a magnum opus.
what an unusual time signature...
@grimmbo93 It's a mix of 6/8 and 2/4. The RH is in 6/8, while the LH is in 2/4. Different notation would just put the two staves in the different time signature, but this edition chose to smoosh them both together. It's the same time signature as the beginning, though the hands' roles are reversed.
I have to say that it's probably a rubato, and yet, it's so beautiful the way he handles this and the other four movements, that I can't say anything at all about his approach. Xandertrax is right... it stands out from all the others.
Favourite one.
beautiful! thanks for posting!
great work
The tremolo at 1:49 is a little flag atop the mast fluttering in the storm
0:40 that time signature scared me
on 2:01 the playing is SO perfect that it just sounds like a harp!
Learn this song is going to be my biggest flex
@Xandertrax My teacher said the reason that you should do scales and hanon, is because it takes your performance to a whole new level. she said when you learn Ravel that you should also do many scales, cadences, arpeggios, and hanon so that if you play it at a performance, it sounds so much better
i love your teacher, my last teacher used to tell me that he has nightmares from hanon
Hanoi?
2:12 look at the last measure at this second and look at the first note in the left hand, you need a Bosonfonder Inperial For That Note 💀
Can somebody explain this time signature in the bottom right 0:33
I think Ravel is telling the performer to sort of shift between those two meters at the performer’s discretion, or even to play in both meters at once where appropriate. Of course the accents, melodic contours, arpeggio figurations, etc. make it pretty clear which of the two meters he has in mind for a given measure/half measure.
Oliver : Is there anything you don't know?
Elio : I know nothing, Oliver.
Oliver : Well, you seem to know more than anyone else around here.
Elio : Well, if you only knew how little I really know about the things that matter.
Oliver : What "things that matter?"
Sorry to all the non cmbyn stans✨
btw this music is a piece of art
Magic
Call Me by Your Name...
Haha same
LMAO...hi there
heavydirtysoul I knew the piece when the trailer played!!! And I also heard the 3rd movement from the tempest sonata by Beethoven.
Tøp
maymakvm no problem I figured my obsession with classical music might help someone!
Ma non è che che ci troviamo di fronte ad un caso di "minimalismo" allo stato emrionale???
L'inizio che ripete sempre la stessa figurazione...
Che genio Maurice!
I remember everything
Adding to Matt Allen. It's not the tempo you're referring to, it's the time signature. And the time signature is not a ratio, even though it looks like one. It's made of two numbers, one placed above the other. The upper one denotes the number of beats per measure; the lower one denotes what kind of note carries the beat. In this case, we're given two quarter-notes per measure, or six eighth-notes per measure (grouped as two sets of three). The composer is alerting the musician that the measures will carry two beats, but the beats will be subdivided into twos OR threes.
Very well said, sir!
I thought about it again. I think this sheet was idealised by the editor/publisher. I found another edition (maybe orginal?), where the G-sharp is substituted by the conventional A. Interesting. Something which would be against our theory is, that Ravel wrote as a final chord for the third movement of his Piano Concerto in G (1929-1931!!!!!) lowA+G , which should clearly be an octave. He wasn't that sure that the pianos have the extended range. But yeah, right, they aren't in tune anyway! :D
Sailing across the dreams
wow this is so exquisite
Captivating!
I can't figure out how to make that grace note in the first part stand out as part of the melody when I play this.
+archcorenth Just make it much louder?? It's really easy
you sound like you'd be a wonderful teacher, +randeringer
+archcorenth What difficulty are you having with it? When I was learning it it really was simple as that
wonderful
We know that Ravel was in contact with his first pianist friends Jacques Février and Marguerite Long who both worked with the composer before their first public performances... and they learned from each other - ravel about piano technique and the pianists about interpretation...
Amazing
Is this physically (not technically) as hard to play as it looks. my piano teacher said Ravel is difficult, but can be played very well by doing hanon, and scales and such'
As I’m learning it now it is easier than it seems but still hard
Pretty 🧚🏻
It's funny how people get so hyped about fast/precise video game execution, when their button mashing is super lame and slow compared to a performance of a tune like this. I'ma start sending them over
No, the way he plays it is correct. The time signature is 2/4 6/8, so effectively the second half of each bar is in triplets, with the first one tied to the previous note. (Hope that makes sense!)
has anyone actually sucessfully learnt to play this? i'm trying and am so stuck with playing the left hand at the right speed
After 4 months of constant practice I can play the whole thing, but it will probably take me a lot longer to get up to speed
At first yes but just feel it and struggle a little and you’ll zone out as your fingers do the rest. Get lost in it as you would listen to it
it sounds like shining water
너무 아름답다
I'm just thinking about Elio and Oliver. For me, this song fells like falling in love for first time. ❤️
helluva boat ride.
The time signature 62/84 is so confusing. What does it mean? Why did Ravel use such an irrational time signature?
It means the time signature alters between 6/8 and 2/4
i wish i knew how to play this:(