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It sounds like you have learned the notes but are a bit unsure of the rhythms! Have you practiced this with the music in front of you using a metronome?
The arpeggios section begins way too loud and fast in my opinion, which is the reason you made a couple of mistakes in the big arpeggiated D flat major and the E flat major. It's supposed to be played pp and "un poco mosso" which is a "bit" quicker, and gradually increase in volume to f before the calmato.Don't forget the time signature which is 9/8. The beggining wasn't played this way.The variation of the introduction after the arpeggios is supposed to be played ppp.On the final arpeggios, Debussy says "morendo jusqu'à la fin" which is gradually decreasing in volume till the end. It seems you made a couple of crescendos here.Of course that's just how I think it sounds best. But everyone is entitled to their own interpretations. I just like having a dreamy atmosphere thoughout the piece.EDIT: The 2nd post is a very good interpretation in my opinion. It's how I believe Debussy wanted the piece to be played.
Thank you for your feedback, I appreciate it. Do mind referring to specific measures or timestamps? I'm not really sure where the arpeggio sections you're referring to begin and end. I thought the arpeggio section lasted from 2:00 to 4:00 in my 3rd try, but I must be mistaken. I apologize, but I've never taken any theory lessons, I just play for myself for fun, so I'm not totally sure what you mean by a 9/8 time signature. I don't have anyone to blame for that but myself, really. Would you agree that measures 27-46 is the section I have the most trouble with?edit: When you said my 2nd post was the better interpretation, did you mean my 2nd try, or my 3rd try? Thanks.
Wow, if you never had any theory lessons, you did a pretty damn good job, buddy. The arpeggios I'm refering to are the the big ones on measures 27 and 28. Try slowing them down, it feels much better this way. And try to soft them down too!For more advice on the 9/8 time signature, check this video out. He explains everything on minute 1:20. And don't worry about the accuracy of your notes. You almost got them all right, it doesn't seem to be your main problem. Try to focus a bit more on dynamics and your piece will sound great!When I said second post, I literally mean the 2nd post by sehnsucht69. Check it out!
No, I don't even own a metronome. Could you point out the areas that you think are especially bad?
The beginning was pretty bad.
Thanks. Would you mind elaborating?
It needed to be a bit more rhythmic.
What he means is that you should use the proper tempo and time signature. It's andante in compound time, in this case 9/8. You use too much rubato, which gives a feeling that the rhythm is all over the place. Hope that was helpful in some way.
Some general advice:- Learn to 'think with the melody'. Thats what its all about, the rest is just background extra.- cut down on the pedal!
Thanks for the advice. Do you suggest I cut down on the pedal pretty much everywhere? I was told by someone else to pedal more at the beginning because it sounded too murky.
Thanks. Never heard of andante or rubato. But from what I understand, I should be flowing, not staying too long on certain notes where I should be playing the next one.
Nice work so far! I listened to the link for your 2nd try recording. Here are a few other tidbits that haven't yet been discussed. 2:50 - sounds a bit tense still, but i'm sure that'll change with time. I'd like to hear a bit more of the melody ring out though. This is the climax, imo... the crux of the piece. That melody should be gripping, absolutely riveting and fluid. In general, throughout the piece, I would focus on the longer phrases; the longer sentences of the story. Try not to have to many "breathes" in the middle of a "sentence". example: from 3:08 to 3:24 should be one long phrase, and from 3:24 to 3:40 should be another. I think that is where working with the metronome (free app on the phone!) would benefit. Or just play the melody alone by itself to practice so you can hear the direction and movement of the melodic phrase as a whole. Then add the rest of the decoration once you've distinguished the difference. You'll rock this piece. It's a charmer. Already very captivating! Eric
it is not ultimately played spot on with the ticker in a performance, as that would be blasphemous, but it does help to make sure that you are rhythmically bang on, and then FROM THERE, you can be more free and give it space in some areas, and urgency to others. But currently the opening page is deviating too much from the written score.
of course, working with the metronome is just for practice. it is not ultimately played spot on with the ticker in a performance, as that would be blasphemous, but it does help to make sure that you are rhythmically bang on, and then FROM THERE, you can be more free and give it space in some areas, and urgency to others. But currently the opening page is deviating too much from the written score.Hope that helps.
Not sure if you still check this thread but regardig your last recording,*It sounded way better, especially the beggining, but dude, please spend like 20 dollars on a decent mic, haha. The one you're using is extremely bad.*Don't forget that on measure 17, there's a pp marking. The first note was very loud. Same thing goes for the calmato part. You played a bit too loud.But it's indeed much better than the first recording. It'd be much easier to give some feedback with a decent mic, though. What is the piano you're using by the way?Cheers, mate.
What is the point of this? I was hoping for some feedback and tips.
Maybe you should indeed listen. It does not mean you have to copy what you hear, but it can give you new insights and maybe a better idea about what we mean with our comments.
Topic: Debussy - Clair De Lune 