An Uncertain Analysis | Ondine - Gaspard de la Nuit

[nakashihiruma]

Hello, I've been practicing quite a bit of Ondine and I must say I really wish I had the space for a grand.

Anyways, I'm uncertain of something in measure 20. Firstly, measure 18 sounds (to me) like a vortex of bubbling water; such as if you lay your hand flat atop a pool of water and forcefully shove downwards. The arrangement of notes in measure 18 work perfectly for this sound; the first A♯ gives a sense of a twirling motion. Then once measure 20 comes, the change to E♮ allows for a differentiation and makes the bubbling vortex seem deeper in the water. However, the third note is an A♯. This may make sense as for continuity of measure 18, but I feel the late entry of the A♯ adds a strange pop that stands out which I find quite annoying. I think if the A♯ is changed to B♯ then the opening three notes keep their sense of deepness and it allows for a smooth transition to the E♮.
I once tried playing the A♯ and adding the B♯ in succession, but then this made the vortex sound too violent.

What are your thoughts on this?

The Best,
             Tui

[j_menz]

What are your thoughts on this?

You should mould your conceptions to the notes, not the other way round. Otherwise, where will it end?

You are correct to try and relate the notes to the movement of water, but it is important IMO to make the water move to the notes as written, not let the flow of the water try and direct the notes.  In other words, Ravel meant that A#, and you should make the water move in a way that incorporates it effectively, not say "oh well, I think the water is doing this and a B# works in better with that".

[nanabush]

Try just playing the 'melodic' notes of the left hand.  Try stripping it a bit thinner, and just listen to what the left hand is offering in these measures...I have a similar visual in mind for these measures.  I kind of find measure 20 is an elaboration on measure 18... It just goes a little 'deeper', it's like enticing you forward.  The harmonies here are killer.  You have the simple melody in mm.17/19 in that haunting key.  And then these bursts of augmented/whole tone goodness.  As mentioned by j_menz, try make THOSE notes fit with the flow of the piece.  Ravel surely had a good reason to put them there