Interpreting Debussy's Arabesque No.1 for Piano - Piano Interpretation
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- Опубликовано: 9 июл 2024
- Understanding and interpreting your piano music allows you to bring your own unique flair and personality to a piece. Here we investigate this famous Arabesque written by Debussy during his early career and explore the hints of the Impressionism that are present in this work then goes on to explore aspects of structure, melodic design, harmonic framework, and texture that suggest ideas for interpretation in the use of balance, shape, rubato and other dimensions of a convincing performance. This video is useful for those performing this piece or other music of the period, and for those wanting to explore tools for interpretation in general.
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🕘 Timestamps
0:00 - Introduction to interpreting Debussy's Arabesque No.1 for piano
0:30 - Impressionism
2:56 - Playing the piece
3:40 - Feel the rate of harmonic change
8:11 - Pedalling choices
9:10 - Dynamic shape
10:02 - Speed and tone
12:33 - Development through the bars
18:52 - Melodic directions
20:08 - Further into the piece
23:07 - Hand balance
27:24 - Building intensity
28:49 - A return to the opening
29:11 - Conclusion
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I really enjoyed this. Debussy is my favorite composer. I've so often heard pianists barrel through Arabesque without expression. You played it beautifully, and your insights were appreciated.
Very kind of you
Merci beaucoup.
My friend has just made a recording and interpreted Debussy. What a wonderful picture he has painted.
Fabulous
Been waiting for this one for a while!
😀
A beautiful piece of music, beautifully explained and played. Thank you, Mr Green. This is my favourite channel on RUclips! 😊
I’m so glad it’s helpful. Much more at www.mmcourses.co.uk
This is before he would move to the use of the whole tone scale, in which the sense of a tonal center is almost completely lost. Love this piece!
Fabulous work
There is something with this that I haven't really noticed before about the opening 6 bars and why that resolution to E major is so sweet when we get it. I think firstly because it's the first time we hear the E major chord in root position, but also I think the descending scale in the bass to the dominant and and the kind of dominant 9th with that C# has a real tension to it as well the melody rising to the 7th of the V9 is really pulling you to that resolution. Something I struggle to do that is creating that nice resolution but the mix of harmonic choices along with that descending bass is really satisfying to the ears. Not sure why necessarily, why is that more satisfying than other resolutions? we don't quite understand yet, scientifically. Interesting though.
Excellent observation and a technique worth noting.
I figured it begins in c# minor with the color of the added A note.
It really feels like a A major chord in first inversion
Thanks so much for these great videos! ❤Your knowledge and experience is greatly appreciated!
A pleasure! Thank you very much for your generosity and support for the channel!
Thanks for the lesson. As a guitarist it's near impossible to play Debussy on my instrument. But I do like to try adding Debussy flavour to my writing. This video gave me much insight into his music.
That’s great
Thank you so much! This is so interesting and helpful. I particularly like the exploration of the boundaries of functional harmony. And of course, who doesn't love Debussy?! :-)
That’s great. Much more at www.mmcourses.co.uk
The lever harp version of this by Barbara Brundage is currently on my music stand. I’ve been scared of it as its a grade or two higher than my abilities but I love it so much I really want to learn it. Your video popped up and I’m thinking its a sign! 😊
Excellent. Beautiful piece. Enjoy!
Interesting the first four chords are in first inversion. If they had been in root position, there would’ve been consecutive fifths. This way, there are consecutive thirds and sixths, fine from the voice leading standpoint
Also, the open, somewhat ambiguous function of the first inversion chords
Absolutely
I have had a couple publishers saying that they would, if they were to write a crescendo but have a quieter dynamic after write subito next to it. Do you have any idea why? I thought subito just meant suddenly or right away.
That is what subito means.
@@MusicMattersGB so why the need to write it in that scenario?
@isaacshaw1596 Not sure. Simply depends on whether a composer wants to make a subito change or not.