Absolutely outstanding - I've always loved this piece... and Debussy in general. His work often reminds me of wistful jazz with lots of colourful pentatonics evoking exotic climes.... I look forward to seeing more of your channel when I have time and was delighted to subscribe. Thank you!
I totally agree! And what more, Debussy was also clearly influenced by Javanese gamelan( that uses pentatonic scale) after he watched gamelan performance in the 1889 Paris world fair
French impressionism gave so much to music in early 20th century. Impressionism was huge influence on jazz music in 50’s and 60’s just like Franz Liszt and Sousa were huge influence on ragtime. In general classical music is everywhere in jazz.
22:08 I thought Chopin wrote many pieces using keys like B major or F# major because they are actually technically easier keys to play in on piano. The notes that you would play on your thumb are the only white key notes and the notes played on the other fingers are all black key notes, which probably makes playing fast scale runs easier (this is just what I have heard and it makes sense to me, but I'm not a real pianist). So, he wasn't writing in those keys to make it more difficult - he actually wrote in those keys to make the pieces easier. I have heard that Chopin actually proposed that the first scale people should learn on piano should be B major. I mean, think about Stevie Wonder - a lot of his tunes are in keys with a lot of flats/sharps, and this is probably because these are actually easier keys to play in on piano (they are just a bit more difficult keys to sight read in, but Stevie Wonder doesn't care about sight reading for obvious reasons).
That's totally correct but thumbs on the white keys is in a system called mirror fingerings which was at the time the standard fingering of the piano, however after Hanon and his books we adopted Hanon fingerings as the standart fingerings of the pianos
@@marcossidoruk8033 though strictly speaking, you’re correct. everyone is a product of their times. no ones a “time traveler” so to speak. but it’s hard to argue that Debussy didn’t write music that fits into today’s cultural tastes (even and especially modern pop) better than those of his time.
This is truly outstanding analysis and remarkably clear, humble, zen presentation of what is quite complex and mysterious music. Thank you so much, Nick. Keep up the fabulous work. You are making the world a lovelier place!
It's neat to break it down hilight the parts that stand out etc but we all know all that goes out the window whether it be on a grey day or sunrises morning that this piece plucks the right string inside and for those moments we feel more alive.
I'm analyzing a Debussy piece (String Quartet in G Minor) for a class right now as well as writing a Debussy inspired piece for a different class, and I found this analysis wonderfully inspirational. I've been a fan of your channel for some time and I'd really like to thank you for your incredibly beautiful and informative videos. As a young composer and jazz musician they're an invaluable resource.
Thank you for making this for we people with little or no musical background. Paul Barton the pianist and now this have open the world for me to begin to read and understand music.
He wasn't the only one inspired by the French Modernists either, but through him and Gershwin, the Americans credited with inventing jazz took their influences. I've identified two parallel streams: 1. Fauré, Debussy and Edward MacDowell -> Eastwood Lane -> Leon Beiderbecke and 2. Fauré and Debussy -> Ravel -> Gershwin (and Carmichael etc) I was not at all convinced by the racially-appropriated origin mythology of jazz, and did a project to find its true origin, and I managed to trace a timeline through specific songs, dating - at the latest - back to Paris in the 1880s. Fauré had influences, so did Debussy, but it is there that the elements of jazz coincide and found a derivable concept. It's just not 'politically correct' to say the truth.
Jazz is everywhere. And that's just as well. Loving Debussy for a long time, I thank you for this excellent analysis. I had to listen attentively to it a few times, but now I enjoy the work even more intensely. Enrichement.
I am coming from the opposite end.I have very little musical theory knowledge and I loved this piece the first time I heard it.To me the pre jazz musical colors in it somehow brought me back to my childhood ... firstly Peanuts music,secondly older movies and thirdly the pop music of the 70s/80s(with jazz flavoring,examples numerous) I heard on the radio.
This analysis is brilliant and so helpful. This is usually the piece I want to hear having had the piano tuned. I think I now understand a bit better why it's so beautiful.
Really cool analysis, amazing how "contemporary jazz" this piece sounds. One point of contention though is the overall idea that the genesis of musical functions is from theoretical development and not the other way around. e.g. "Here he is using MODAL INTERCHANGE years before Berklee invented the term"...subtext: omg, how did he know?? In reality, theoretical concepts are developed retroactively to structure our understanding of what has come before. Also, I'm not sure you can call the ii-V-I a "jazz progression". lol.
Many years ago I tried ,with some success, to use the same approach of jazz harmonic analysis for a Chopin piece I was trying to arrange for the classical guitar and maybe use later in a jazz context
Great analysis of a wonderful composition. Anyone else wishing Debussy had written it with G, C and E tonal centres though?! My brain hurts trying to follow all those flats...
Amazing! Thanks for sharing your analysis in such a holistic way, I really appreciated the way you delivered all the ideas and concepts in this piece. I've listened to debussy as I can remember and his music evokes so much emotion. I have this piece on vinyl along with Claire de Lune, Prelude to the Afternoon of a Faun, etc. So it was very very cool to dive in and see how his techniques bring out different emotions. Thanks again!!
I have heard that Chopin used key signatures with lots of flats and sharps as he thought that the black keys are easier to reach since they are more fitted to the shape of the hand.
Thank you for this video. It served to both teach complex musical ideas, and remind us how amazing Debussy was. I learned a great deal from this and I hope you do many more videos like this one. Cheers!
brilliant brilliant. if I had my wish: when the section is played then the clear elucidating explanation follows - I would like to hear the same phrase again as I assimilate the info. It's ok I know we are all different !
Impresionante, gran análisis y qué bueno saber que vivís en Argentina, me encantó tu canal, si podés seguir con Debussy enfocado desde el jazz sería buenísimo, obras como Preludio a la Siesta de un Fauno o Claro de Luna se prestan bastante para este tipo de análisis me parece. Abrazo y gracias por tu contenido de calidad. Matías
Just found you and subscribed I play jazz harmonica in clubs but once in a while I take out my alto recorder and play Ravel's Pavanne, Piano bass and drums, played straight, no syncopation---and the people love it. Now I'm gonna learn 'Girl w the Flaxen Hair'
Wrt the key signatures, Debussy was particular about voicing his pentatonic passages on the black keys only - he does it in this piece as well as many of his other piano pieces, especially the more impressionistic ones where the pentatonic “sound” is specifically featured. That would indicate to me that he is making things *easier* on the player, not harder. Obviously it’s very intuitive to read and play western pentatonic phrases when they’re on the black keys! It’s also why I prefer to read the B major sections in c flat major, because the e flat minor pentatonic phrases (eg the theme) can be read the same regardless of the key change. It’s not my favorite of his preludes, but it is an earworm, and it’s easy to hear why it’s so popular. It’s also very difficult for me to play as I hear it because of the many impossible voicings and all the parallel movement in what you call the polyrhythmic section.
I love this!......please could you do an analysis of Nick Drake's 'River Man'............full of unusual chords and rhythm..........Thanks for these videos!
Just amazing, inventing the 3tonic system before Coltrane allegedly invented it and all the rest. Not for nothing many told me that all things in jazz were technically invented in classical before. I knew all this but it still amaze me. Thanks for this marvellous video
![How to Play Debussy | La fille aux cheveux de lin (The Girl with the Flaxen Hair) [Tutorial]](http://i.ytimg.com/vi/BfPHO37IXiU/mqdefault.jpg)
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Absolutely outstanding - I've always loved this piece... and Debussy in general. His work often reminds me of wistful jazz with lots of colourful pentatonics evoking exotic climes.... I look forward to seeing more of your channel when I have time and was delighted to subscribe. Thank you!
I totally agree on all points you mentioned.
Nice comment.
Be well.
I totally agree! And what more, Debussy was also clearly influenced by Javanese gamelan( that uses pentatonic scale) after he watched gamelan performance in the 1889 Paris world fair
This is why Debussy is my favorite composer.
Claude Debussy English name is Bill Evans Tyner
French impressionism gave so much to music in early 20th century. Impressionism was huge influence on jazz music in 50’s and 60’s just like Franz Liszt and Sousa were huge influence on ragtime. In general classical music is everywhere in jazz.
I always thought Reflets dans l'eau was the most jazziest Debussy piece. This is interesting to hear this be analyzed more differently.
22:08 I thought Chopin wrote many pieces using keys like B major or F# major because they are actually technically easier keys to play in on piano. The notes that you would play on your thumb are the only white key notes and the notes played on the other fingers are all black key notes, which probably makes playing fast scale runs easier (this is just what I have heard and it makes sense to me, but I'm not a real pianist). So, he wasn't writing in those keys to make it more difficult - he actually wrote in those keys to make the pieces easier. I have heard that Chopin actually proposed that the first scale people should learn on piano should be B major.
I mean, think about Stevie Wonder - a lot of his tunes are in keys with a lot of flats/sharps, and this is probably because these are actually easier keys to play in on piano (they are just a bit more difficult keys to sight read in, but Stevie Wonder doesn't care about sight reading for obvious reasons).
i laughed so hard at the end of the comment
@@marcosdelfino9695 lol
That's totally correct but thumbs on the white keys is in a system called mirror fingerings which was at the time the standard fingering of the piano, however after Hanon and his books we adopted Hanon fingerings as the standart fingerings of the pianos
And btw yeah because he is blind Stevie Wonder finds it easier to play with black keys
As someone who is learning to play this on the guitar, what may make it easier to play on one instrument makes it tricky when it moves to another
Imagine writing this. Starting with a blank sheet of paper and being able to put together a piece like this is beyond me
xander I feel the same way every time- true genius- something from nothing- amazing
An outstanding analysis! Debussy is one of my favorite (if not the favorite) composers of all time, and this particular piece is the dearest to me.
Debussy was waaay ahead of his time.
I can hear where Bill Evans got inspiration
No, he was not.
@@marcossidoruk8033 though strictly speaking, you’re correct. everyone is a product of their times. no ones a “time traveler” so to speak. but it’s hard to argue that Debussy didn’t write music that fits into today’s cultural tastes (even and especially modern pop) better than those of his time.
This is truly outstanding analysis and remarkably clear, humble, zen presentation of what is quite complex and mysterious music. Thank you so much, Nick. Keep up the fabulous work. You are making the world a lovelier place!
This is fantastic.Thank you for this upload.
You can hear so much of Debussy in Bill Evans' playing; this video highlights that for me.
It's neat to break it down hilight the parts that stand out etc but we all know all that goes out the window whether it be on a grey day or sunrises morning that this piece plucks the right string inside and for those moments we feel more alive.
Un plaisir de t'entendre parler français ! Excellente vidéo, comme d'habitude, un grand merci
I'm analyzing a Debussy piece (String Quartet in G Minor) for a class right now as well as writing a Debussy inspired piece for a different class, and I found this analysis wonderfully inspirational. I've been a fan of your channel for some time and I'd really like to thank you for your incredibly beautiful and informative videos. As a young composer and jazz musician they're an invaluable resource.
Thank you for making this for we people with little or no musical background. Paul Barton the pianist and now this have open the world for me to begin to read and understand music.
THIS IS THE BEST CHANNEL FOR MUSICIAN !!!!!!!!! U ARE FENOMENAL !! THANKSSSSSSSS 100000000000000000000
A very clear and precise analysis. Well done and thanks for posting.
You’re videos are a treasure. I can not thank you enough for doing these. Your channel is brilliant. Thank you so much.
This theme is one of my all times favourite!
Your work on it is brilliant!
Thank you so much.
Now you're my favorite channel on youtube
Bix Beiderbecke in the 1920s wrote piano pieces inspired by Debussy such as In a Mist, Flashes, Candlelights and In the Dark.
They're fantastic, and unfortunately only five in total exist. I believe that "In a Mist" is the only piece that he recorded himself.
He wasn't the only one inspired by the French Modernists either, but through him and Gershwin, the Americans credited with inventing jazz took their influences. I've identified two parallel streams:
1. Fauré, Debussy and Edward MacDowell -> Eastwood Lane -> Leon Beiderbecke
and
2. Fauré and Debussy -> Ravel -> Gershwin (and Carmichael etc)
I was not at all convinced by the racially-appropriated origin mythology of jazz, and did a project to find its true origin, and I managed to trace a timeline through specific songs, dating - at the latest - back to Paris in the 1880s.
Fauré had influences, so did Debussy, but it is there that the elements of jazz coincide and found a derivable concept. It's just not 'politically correct' to say the truth.
Jazz is everywhere. And that's just as well. Loving Debussy for a long time, I thank you for this excellent analysis. I had to listen attentively to it a few times, but now I enjoy the work even more intensely. Enrichement.
I am coming from the opposite end.I have very little musical theory knowledge and I loved this piece the first time I heard it.To me the pre jazz musical colors in it somehow brought me back to my childhood ... firstly Peanuts music,secondly older movies and thirdly the pop music of the 70s/80s(with jazz flavoring,examples numerous) I heard on the radio.
I always thought that Leonardo Di Caprio could make a great Claude Debussy in a movie. Le français est bien prononcé au passage. Des bisous o/
I'd actually love to see a movie about the French scene in the early 20th century. With Debussy, Ravel, Stravinsky etc.
Actually He looked like Debussy in Django
that would be his best harmonic function
This analysis is brilliant and so helpful. This is usually the piece I want to hear having had the piano tuned. I think I now understand a bit better why it's so beautiful.
Really cool analysis, amazing how "contemporary jazz" this piece sounds. One point of contention though is the overall idea that the genesis of musical functions is from theoretical development and not the other way around. e.g. "Here he is using MODAL INTERCHANGE years before Berklee invented the term"...subtext: omg, how did he know?? In reality, theoretical concepts are developed retroactively to structure our understanding of what has come before.
Also, I'm not sure you can call the ii-V-I a "jazz progression". lol.
honeslty it's like this, science was there all along but we just took hell of a long time to understand it and figure it out and name it
Amazing analysis. Debussy was truly a genuis.
Thank you so much for this video! Debussy is one of my absolute favorite composers and you analysis is great and inspiring!
Yes you nailed this bro .
Also bass is secondry comes on delayed therefore has more impact .texture in its simple form adds more expression.🎵💯🔥
This is exactly what I was looking for, thank you! This video really shows how brilliant this piece is
Really interesting! Playing this piece for my grade 6 clarinet exam and it's great to learn more about it. Such a beautiful piece!
I knew there was a reason I love his work!! I learn so much from your videos, Thank you!!!
Excellent video! Thank you.
Such a wonderful piece. Very illuminating, thank you.
Many years ago I tried ,with some success, to use the same approach of jazz harmonic analysis for a Chopin piece I was trying to arrange for the classical guitar and maybe use later in a jazz context
Thank you so much for this!! please do more Debussy!!
Great Analysis!!! thank you so much, Nick!!!
Thank you very much! Debussy was miles ahead of his time! Keep them coming :D
Great analysis of a wonderful composition.
Anyone else wishing Debussy had written it with G, C and E tonal centres though?! My brain hurts trying to follow all those flats...
But it feels better to play it with the patterns of the black keys....he is such a “piano”player. 🧐
So great work! Merci pour votre justesse pour votre travail et votre intelligence.
Amazing! Thanks for sharing your analysis in such a holistic way, I really appreciated the way you delivered all the ideas and concepts in this piece. I've listened to debussy as I can remember and his music evokes so much emotion. I have this piece on vinyl along with Claire de Lune, Prelude to the Afternoon of a Faun, etc. So it was very very cool to dive in and see how his techniques bring out different emotions. Thanks again!!
This video is fantastic, you deserve every accolade for so much effort and the thoughtful presentation.
Wonderful work and effort to ake us love it even more...
Damn, you have analysed these impressive guys I mean Satie and Debussy I'm wowed
Just an amazing piece one of my all time favorites
Nicely done! Your analysis really illuminates this piece. My playing will be better for it. Thank you!
Bless your soul for doing these videos!!!
Dude! This is so rich.
Thank you.
Thank you for this awesome lesson. Enjoyed every second of it.
Formidable vidéo!
Thanks for the video - i'm learning this on keyboard atm and your vid answers my questions of tricky rhythm in the piece.
Fantastic Tutorial !
I have heard that Chopin used key signatures with lots of flats and sharps as he thought that the black keys are easier to reach since they are more fitted to the shape of the hand.
very interesting , the notes and accords(and sounds) , thank you a lot
What an insightful and wonderful video!! Thank you very much!
Top notch analysis, thanks for sharing.
Thanks for the upload, amazing video!
Fascinating stuff.
Many thanks sir.
Thank you so MUCH!
Thank you for this video. It served to both teach complex musical ideas, and remind us how amazing Debussy was. I learned a great deal from this and I hope you do many more videos like this one. Cheers!
Incomparable program ！
Nobody can surpass this program .
From Tokyo of the Land of the Rising Sun .
brilliant brilliant. if I had my wish: when the section is played then the clear elucidating explanation follows - I would like to hear the same phrase again as I assimilate the info. It's ok I know we are all different !
Impresionante, gran análisis y qué bueno saber que vivís en Argentina, me encantó tu canal, si podés seguir con Debussy enfocado desde el jazz sería buenísimo, obras como Preludio a la Siesta de un Fauno o Claro de Luna se prestan bastante para este tipo de análisis me parece. Abrazo y gracias por tu contenido de calidad. Matías
Just found you and subscribed I play jazz harmonica in clubs but once in a while I take out my alto recorder and play Ravel's Pavanne, Piano bass and drums, played straight, no syncopation---and the people love it. Now I'm gonna learn 'Girl w the Flaxen Hair'
kool and the gang! cheers
thank you! so organized its very relaxing
Superb analysis!
Thank you for this very detailed analysis. It helped me understand the piece a lot more!
Thank you Jazzduets for your awesome work. I´ve learned a lot from your videos. Thank you again.
Wow! Amazing!
Thanks ! Very inspiring
Amazing job thank you
面白い企画ですなぁ❗素晴らしい。これは一番好きな曲です。
wonderful
Thank you! This is wonderful :)
You are truly amazing. Many thanks for the good work!
Excellent Nick. Eres un maestro
Amazing. Thank you.
This is outstanding. Thank you so much.
Wrt the key signatures, Debussy was particular about voicing his pentatonic passages on the black keys only - he does it in this piece as well as many of his other piano pieces, especially the more impressionistic ones where the pentatonic “sound” is specifically featured. That would indicate to me that he is making things *easier* on the player, not harder. Obviously it’s very intuitive to read and play western pentatonic phrases when they’re on the black keys! It’s also why I prefer to read the B major sections in c flat major, because the e flat minor pentatonic phrases (eg the theme) can be read the same regardless of the key change.
It’s not my favorite of his preludes, but it is an earworm, and it’s easy to hear why it’s so popular. It’s also very difficult for me to play as I hear it because of the many impossible voicings and all the parallel movement in what you call the polyrhythmic section.
more of this!!!
Schubert already had those polychords you mention around 3:30, Novelty is mischievous ^_^ . Nice overall video, though, thank you!!
Beautiful work! Thank you!!
Fantastic, thank you!
Great work!!! now I better understand why the young Debussy got kicked out of the music school!! :)
Awesome work!!!
wonderful piece thanks for breaking this down.
Nice work Nick!!! abracos
my friend! xxx
Amazing! Thank you for this channel
Great!!!!!!!Thank you!
sehr sehr schön, danke!
THANK.
YOU.
Sir, you are amazing!
Beautifull, thank you so much ! This is gold :)
I love this!......please could you do an analysis of Nick Drake's 'River Man'............full of unusual chords and rhythm..........Thanks for these videos!
Would you consider doing an analysis of Arabesque no 1 by Debussy also.Thank you for your brilliant analysis.
It is on the list! and others by the master!
@@JazzDuetsThat's great news.I live for your analysis.
Awesome. Thank you for this lesson
Thanks a lot
Just by listening , the worries of my fleeting life will be blown away
From Tokyo of the Land of the Rising Sun 🇯🇵
Just amazing, inventing the 3tonic system before Coltrane allegedly invented it and all the rest. Not for nothing many told me that all things in jazz were technically invented in classical before. I knew all this but it still amaze me. Thanks for this marvellous video
Very well considered.
Thank you.
Butch.
well done! thanks!