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Violin Lessons: Debussy - La Mer 2nd Mvt, Reh. 19 - 20

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[MUSIC].
This short excerpt from La Mer, as opposed
to the longer one that comes
a little later in the second movement is
just a display of French sound.
There are stereotypes about the French
sound that it always has to be light,
and really airy and fluffy.
Some of that is true, and even the part
that's true is not true all the time.
But in this excerpt, you do want to
display a lighter sound,
with some bow speed on the trills.
[MUSIC].
And since this is La Mer, about the sea,
you want these changes in dynamic to be
wave like, they, they really travel,
let the bow travel and do a real hair pin
there.
The pulse has to remain exactly steady.
What usually happens in this excerpt is
that the eighths rush,
they push and they get an unattractive,
harder sound, and
that's really the big test in this short
excerpt.
The committee wants to hear that you can
play steadily, while mixing in
these different articulations and keeping
everything nice and light and traveling.
You do that with the eighth notes by
keeping of course, everything close to
the string, but it takes some doing to mix
in the slurs and the separate notes.
It's worth working on that a little
slowly,
to make sure that you get it really even.
[MUSIC].
So I mix in the slurs and the separates, I
want them all to sound even and
I wanna fit the grace notes just before
the main notes.
[MUSIC].
So in this excerpt, when you see a
crescendo going up to piano,
it's meaning that the piano is subito.
You need also to look at the different
hairpins that are marked there.
There are hairpins that go right up to a
piano subito,
and then there are ones that have a
diminuendo associated with them.
So if you look before figure 20, one, two,
three, four, five, six,
seven, that one, comes back down to piano
whereas the bar before did not,
so you need to make that difference.
[MUSIC].
Similar to the hairpins right before the
end of this excerpt.
[MUSIC].
And then this one, going all the way.
[MUSIC].
If you play them all the same, you
homogenize it too much and
since it's such a short excerpt, people
are gonna notice those details.
Let me talk about bowings in the
beginning,
it's a bit of a challenge to get these
dynamics right, so I like an extra up bow.
[MUSIC].
Now, that bow, I want to end right at the
bounce point.
[MUSIC].
So that I don't have to make any
adjustments,
I need to end that right where I'm gonna
bounce to bow to continue the excerpt.
[MUSIC]
[MUSIC].
This short excerpt from La Mer, as opposed
to the longer one that comes
a little later in the second movement is
just a display of French sound.
There are stereotypes about the French
sound that it always has to be light,
and really airy and fluffy.
Some of that is true, and even the part
that's true is not true all the time.
But in this excerpt, you do want to
display a lighter sound,
with some bow speed on the trills.
[MUSIC].
And since this is La Mer, about the sea,
you want these changes in dynamic to be
wave like, they, they really travel,
let the bow travel and do a real hair pin
there.
The pulse has to remain exactly steady.
What usually happens in this excerpt is
that the eighths rush,
they push and they get an unattractive,
harder sound, and
that's really the big test in this short
excerpt.
The committee wants to hear that you can
play steadily, while mixing in
these different articulations and keeping
everything nice and light and traveling.
You do that with the eighth notes by
keeping of course, everything close to
the string, but it takes some doing to mix
in the slurs and the separate notes.
It's worth working on that a little
slowly,
to make sure that you get it really even.
[MUSIC].
So I mix in the slurs and the separates, I
want them all to sound even and
I wanna fit the grace notes just before
the main notes.
[MUSIC].
So in this excerpt, when you see a
crescendo going up to piano,
it's meaning that the piano is subito.
You need also to look at the different
hairpins that are marked there.
There are hairpins that go right up to a
piano subito,
and then there are ones that have a
diminuendo associated with them.
So if you look before figure 20, one, two,
three, four, five, six,
seven, that one, comes back down to piano
whereas the bar before did not,
so you need to make that difference.
[MUSIC].
Similar to the hairpins right before the
end of this excerpt.
[MUSIC].
And then this one, going all the way.
[MUSIC].
If you play them all the same, you
homogenize it too much and
since it's such a short excerpt, people
are gonna notice those details.
Let me talk about bowings in the
beginning,
it's a bit of a challenge to get these
dynamics right, so I like an extra up bow.
[MUSIC].
Now, that bow, I want to end right at the
bounce point.
[MUSIC].
So that I don't have to make any
adjustments,
I need to end that right where I'm gonna
bounce to bow to continue the excerpt.
[MUSIC]