Pictures at an Exhibition: 1A Promenade
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- Опубликовано: 13 мар 2019
- Orchestration Analysis Series Part 1, Video 1/3 covering Ravel's orchestration of Mussorgsky's Pictures at an Exhibition.
Here are some useful links:
The IMSLP page dedicated to Pictures at an Exhibition:
imslp.org/wiki/Pictures_at_an...)
Thailand Philharmonic Orchestra's performance of Pictures:
• Mussorgsky Pictures at...
A full video of Pictures with score:
• Pictures at an Exhibit...
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Thomas, I know I've said it before, but I'll say it again and again and again if I must: Thank you.
Great!
Thank you!
P.S.: Horns on 0:23 hurts me :D
Let me tell it, this channel is Pure GOLD!
HOLY GOD, I'VE BEEN WAITING FOR THIS MOMENT.
THANK YOU VERY, VERY MUCH THOMAS ❤️
Your timing has been so serendipitous on these analysis videos - my orchestra has done all the pieces you've looked at in the past year, and will be doing Pictures in May. Very excited!
Love this! Playing it as the principal clarinetist this weekend for the OSFL!
Awesome Video! Thank you for doing this!
This is a very great orchestral masterpiece.
Wonderful, thank you so much!
SO good!
thank you so much!
I'M READY
i WILL watch it.
ok
This is truly an excellent resource. For your next project, might I suggest a piece by Tchaikovsky? Perhaps the sixth symphony, or Romeo and Juliet Overture. I'm also privy to Prokofiev Symphony No. 5. Just some of my favorite orchestral pieces that I would love to see broken down like this :) Good work!
I'm a little confused about the instruments Ravel has here. He seems to have 1st and 3rd trombones, but no 2nd trombone? Is that just because it's not used in this particular piece, but is used in others? Or am I missing something else?
As I mention in the intro and a few other places, Ravel shapes individual orchestras for each movement from the individual numbers available. Here he only requires first trombone plus the 3rd which may be played as bass trombone.
Question: why is the piccolo flute below the other flutes even if he plays higher in register? Is it because the third flutist is playing it? Thanks
Yes it's because it's 3rd player. This is the old fashioned way of writing it. Some people today still prefer it although most people put it on top now.
I have listened to this piece before, both orchestral and piano solo, and I don't hear so much of an 11/4 as I do a 4/4. To me, that fifth beat in the first measure feels accented, as though it is the beginning of a measure. And I hear this 4/4 pattern continuing throughout the Promenade in terms of the accent, even when a 7/4 time signature is brought in in later Promenades. I know how odd meter and compound meter work so why am I feeling as though the entire Promenade is in 4/4?
I assume that Mussorgky wrote the Time signatures as he felt it right, even if some Major changes happen right in the middle of a bar (like in bar 17). I Personally feel the Promenade as being mostly quite unmetric, like a gregorian chorale (eventhough there is no connection between these), but i think everyone feels it a little different.
thanks! 4:44 20:00 39:04 46:20 52:09
IT'S HAPPENING
BOIS
21:05 that lost tenuto line bugs me LOL
32:54 How's that word spelled? "I'm talking about this as ....., but don't get me wrong here. ..... is not a bad thing."
Artifice
@@ZachReading Thank you.
24:37 note to self where I got to
43:15
Is it just me or bar 3 and 4 the chords are out of tune? Great analysis btw I LOVE YOUR CHANNEL!
Nothing in favor of censorship of criticism, but after my first impression of the 23 mintues of this video I suggest the dislikers to do it also in front of the teacher at their universities... Even if some of the videos of the channel doesent meet my need, first of all there is no comparation with similar projects on internet, and this Mussorgsky anaylsis has no comparation with what you may find in many universities. Personaly, at Mozarteum Universitiy ( Music Theory and COmposition) i never had a throught seminar on that . Beter was in Vieana with the Etrugul Sevsay, who has maybe the best book for contemporary composers. At the MDW in Vienna the student has private lessons and colective lessons on the same subject of orquestration. At least many youtube videos are killing any comparation with collective lessons that dont allow we to stop the teacher or fully ask something or giving our perspective. It was hard to travel to Viena so much, so in this context i need to say that such videos are a gem, and I encourage the dislikers to write down what they are disapointed with, for we all can do better someday. I am doing videos also and need to say that it takes a hard time in itself; at least at the beginning the video edition, or the whole plan and sequence, or even ONE WORD that you say can mess up your video or your time frequently: there is not always a student that tells you what was the mistake or the thing you forgot. . Such for our time "advanced' composicional things one learn when the teacher forget the exams and exercises for a while. Cause its a hard thing to be coeherent between asking for exercises and exams AND teaching the TECHNICAL/ARTISTICAL CONTENT according WITH the instituition at the same time. We need to walk between rules and taste as a teacher and as a composer as well, thats hard to put on a table of contents for 1 Hour lessons throught many years. I am not the best "nice guy on youtube" but anway I encourage all the dislikers of such projects to be more eloquent, or to skip to what they like. Even the weird statments of the Authentic Sound channel deserve an apreciation or a refutation, because the guy is unbelieveble ENGAGED. Check it!
With "my needs" i mean more videos on advanced instrumentation and notation, principally for eletronics now. A video on its questions would be already nice, considering you have a super background now!
@@emanuel_soundtrack I’d like to. Read about your future videos I agree this on e Great