I always loved that little checky "jump" in the first bar, skipping a 16th note on the second beat. For me it gives the impression that the barque do a slight skip over the top of the wave, and Ravel accentuets that with a pizz in the orchestral version. Love this piece, great job Thomas. :)
I'm so happy that my videos mean so much to my viewers. I very much appreciate you letting me know, and I'll do my best to keep releasing them every month. :)
I'm sure this has been pointed out, but at 8:35 on the gentle seething of the tremolo rising from the strings to the flutes, my impression is that the clarinet is carrying the ear upwards from the viola trem to the flute trem. That seems to me why the octave jump isn't so stark. Great work again, Thomas!
Absolutely gorgeous analysis. I'm attempting to write a tone poem about the west coast of Canada including George Vancouver's sailing into English Bay, and am so greatly to see this and into the genius of Ravel. Merci mille vois.
If you finish, send me some of your scores, interested to see your works😎, I’ve been preparing to start composing, starting with mainly piano (my main instrument). My email is svrcosanostra@gmail.com
greetings Thomas You're doing a splendid job on one of my top 10 favorite hits, a virtual Encyclopedia of orchestral potential , prowess and subtlety. the peace, light kits better known and more massive colleague, daphnis and Chloe, represents a virtual encyclopedia or microcosm RV dimensional possibilities inherent in sensitive orchestral creation, an archive of musical wisdom which precious few have possessed before or since. however other parallels do exist although they have been somewhat eclipsed by the obvious Brilliance of such luminaries as Ravel, Debussy and Stravinsky, and this would most notably be in the extraordinary and equally profound orchestral Wizardry ofOttorino Resphigi, who was Far Far More Than a mere colorist and who possess great range depth and Power. keep up the good work, and allow yourself at times to go off script so that the spontaneous perceptions and insights that can occur to an wakened musical Consciousness can come forth in a less didactic way
my previous alas wrongly transcribed message should read the piiece, like it's better known and more massive colleagues daphnis and Chloe and La Mer. . .'
![[LIVE] : ONE ลุมพินี 89 | คู่เอก "ยอดไอคิว vs คิริลล์"](http://i.ytimg.com/vi/Z3vYkHJ_5Ig/mqdefault.jpg)
Absolutely wonderful! These lessons have already improved my own orchestration technical abilities!
Utsyo Chakraborty what kinda orchestration do you do?
Good to know! It's always about more than just knowing one composer's score. The knowledge often solves other problems.
This channel is awesome! So glad I found it
Hope to provide hours of entertainment for the orchestration-obsessed musician! :)
I always loved that little checky "jump" in the first bar, skipping a 16th note on the second beat. For me it gives the impression that the barque do a slight skip over the top of the wave, and Ravel accentuets that with a pizz in the orchestral version. Love this piece, great job Thomas. :)
Thanks, Jonas!
I say this every video and I'll say it again, thank you so much. You are truly a gift
I'm so happy that my videos mean so much to my viewers. I very much appreciate you letting me know, and I'll do my best to keep releasing them every month. :)
Thank you. Everything you post is a joy to watch
You're very welcome! Great to hear from a satisfied viewer! :)
I'm sure this has been pointed out, but at 8:35 on the gentle seething of the tremolo rising from the strings to the flutes, my impression is that the clarinet is carrying the ear upwards from the viola trem to the flute trem. That seems to me why the octave jump isn't so stark.
Great work again, Thomas!
Amazing work, thank you so much!!
Absolutely gorgeous analysis. I'm attempting to write a tone poem about the west coast of Canada including George Vancouver's sailing into English Bay, and am so greatly to see this and into the genius of Ravel. Merci mille vois.
If you finish, send me some of your scores, interested to see your works😎, I’ve been preparing to start composing, starting with mainly piano (my main instrument). My email is svrcosanostra@gmail.com
Your lessons are great!!! Thank you very much fro doing this!!!!
Awesome discussion, thank you so much.
Thanks a lot!
Always excited to see a new upload by you!
Thanks, Kili! I appreciate that.
Erratum at 5:28, this C sharp minor tenth is in fact a C sharp major tenth. Woodwing chord is A Maj 7 (#5) /C#.
greetings Thomas
You're doing a splendid job on one of my top 10 favorite hits, a virtual Encyclopedia of orchestral potential , prowess and subtlety.
the peace, light kits better known and more massive colleague, daphnis and Chloe, represents a virtual encyclopedia or microcosm RV dimensional possibilities inherent in sensitive orchestral creation, an archive of musical wisdom which precious few have possessed before or since.
however other parallels do exist although they have been somewhat eclipsed by the obvious Brilliance of such luminaries as Ravel, Debussy and Stravinsky, and this would most notably be in the extraordinary and equally profound orchestral Wizardry ofOttorino Resphigi, who was Far Far More Than a mere colorist and who possess great range depth and Power.
keep up the good work, and allow yourself at times to go off script so that the spontaneous perceptions and insights that can occur to an wakened musical Consciousness can come forth in a less didactic way
I'll be discussing next lesson about how this orchestration was a warmup for Daphnis et Chloé. He uses a lot of similar strategies in both scores.
what an insight
you are awesome!
Drinking game: take a shot every time he says "dovetail."
:-D
D'oh! ;-)
@@OrchestrationOnline LOL
Hi there, Are you still making videos? Did your course ever get made? Great work!!
Thank you.
What is the musical structure of this piano piece?
my previous alas wrongly transcribed message should read the piiece, like it's better known and more massive colleagues daphnis and Chloe and La Mer. . .'
All good, Joseph! You can always edit your first comment and fix the error there if you like.