I just LOOOOOOVE this channel. Ravel's orchestration reminds me that I'm not crazy when I'm orchestrating such diverse and specific roles within the families of instruments. Fascinating technique.
Thanks again! Lili B will return in a couple of months in all her glory, with detailed lessons about one of her last two masterpieces. Hope you will enjoy when that comes along. :)
Once again... so Much FUN!!! please keep it up... love to see the early 20th century compositions that i have adored, for so long, being analysed in this way.. Hopefully people will press the like button.
Thank you so much for putting these videos out, Mr. Goss! (Responding to your insight at 17:41, bar 37, mainly a note-to-self) I think Ravel means for that last resolution to be a G#sus9. The chord is the same in the piano part, it just takes some time for the hands to descend to the root. I wish he would have added a C# to the brass voicing (and maybe a low G#) to provide both a clearer sense of harmony on the downbeat and support to the string texture. The D#m triad there is piercing and hollow; adding C# would give it warmth with that M2. Probably the first time I have ever found something in Ravel's writing that I've critiqued.
4:30 as a pianist, it even trips me when I play it! It sounds like my hands are making more sound. It’s not the hardest thing, it just takes a little practice to make it smooth and out the two hands together
I am so overwhelmed with joy for finding this channel, i've been trying to learn how to orchestrate because i tend to get a lot of musical ideas that are usually orchestral in nature.
Loving the Ravel lessons even more than I already love your other videos! Can't wait until we get to the string harmonics at rehearsal 15. In fact ... any chance someday you could do an entire video on Ravel's masterful use of string harmonics? Such an inspiration he is.
I love this so so much! Huge Ravel fan. I’ve played and performed nearly all his piano works including the concerto. Although I’ve played clarinet in a few of his orchestral works, I haven’t studied them in-depth. As a professional orchestrator, I find your lessons unique and truly applicable. I’m listening now at the gym and I’m so inspired to get home to my composing and see what textures I can try out. Do you teach privately?
As much as I like this channel, I wished that there was some kind of structural arrangement lessons. What are some tricks for transition music between theme a and theme b. What is actual development and to what extent can I recycle my orchestration when repeating a theme.... I consider orchestration more accessible while reading a score, but recognising the structure is still a problem (for me at last).
All the answers to your questions are inherent in all these lessons. :) The strategies you seek for can be approached in myriad ways, and they're there to be studied from many different angles. I can only teach what I'm best at.
The pedal tone you mentioned...G#, I'm confused, maybe I missed something. In the original piano version you showed that that chord was an F#6. How does the G# fit into all of that? Excellent video!!
It's sort of a low suspended second that's disregarded by the ear because of how strong the resolution to the F#6 is, but it seems to add a very nice effect in my opinion.
Hey, I know you commented this a long time ago...but here's my take on it. "Thank you so much for putting these videos out, Mr. Goss! (Responding to your insight at 17:41, bar 37, mainly a note-to-self) I think Ravel means for that last resolution to be a G#sus9. The chord is the same in the piano part, it just takes some time for the hands to descend to the root. I wish he would have added a C# to the brass voicing (and maybe a low G#) to provide both a clearer sense of harmony on the downbeat and support to the strings. The D#m triad there is piercing and hollow; adding C# would give it warmth with that M2. Probably the first time I have ever found something in Ravel's writing that I've critiqued."
This is doctoral thesis and analysis postgraduate work. All you need is way too many theory chords, except not, because this is the most thorough work I've seen on scores analysis on this website. Exceptional work - here's your diploma; I'll expect the manuscript to your textbook in...oh! It's already done? Yeah, it's already done! #professional
What does it meanto have a piece that's in 6/8 and 2/4 at the same tiime? Obviously they're in theory te same thing, but with different rhythmical impulses, but to play two different time signatures at once in the same part. What does that even mean?
It means that even though the beat is essentially the same from the conductor - a downstroke and an upstroke - different players in the orchestra will be understanding the beat in different ways, and possibly different emphases. This kind of multiple time signature approach happens quite frequently.
Hi k wane - perhaps you didn't understand, but the original score is a piano score. Ravel orchestrated this piece after writing it for piano. So anyone can find both versions of the score on IMSLP.
Hi! Great video. But when are you going to analyse some atonal music? Schönberg's Variations for Orchestra, Violin Concerto and Moses und Aron have great orchestration. Webern's Variations and Cantatas are awesome, just look at those timbres! Also, Berg's Violin Concerto has great places too. Anyway, thank you for the great video.
Hi Tesa! I think you've asked this question before, and my answer is still that I'd like to analyse Schoenberg's Five Pieces for Orchestra, but it's going to be a while.
I just LOOOOOOVE this channel. Ravel's orchestration reminds me that I'm not crazy when I'm orchestrating such diverse and specific roles within the families of instruments. Fascinating technique.
Hi Mari! Thanks for your compliment and your intriguing comment. :)
You're so welcome. Am in AWE of your passion and understanding of this music. Was a huge fan of your Lili Boulanger videos too
Thanks again! Lili B will return in a couple of months in all her glory, with detailed lessons about one of her last two masterpieces. Hope you will enjoy when that comes along. :)
Once again... so Much FUN!!! please keep it up... love to see the early 20th century compositions that i have adored, for so long, being analysed in this way.. Hopefully people will press the like button.
Thanks for your kind words! :)
Thank you so much for putting these videos out, Mr. Goss! (Responding to your insight at 17:41, bar 37, mainly a note-to-self) I think Ravel means for that last resolution to be a G#sus9. The chord is the same in the piano part, it just takes some time for the hands to descend to the root. I wish he would have added a C# to the brass voicing (and maybe a low G#) to provide both a clearer sense of harmony on the downbeat and support to the string texture. The D#m triad there is piercing and hollow; adding C# would give it warmth with that M2. Probably the first time I have ever found something in Ravel's writing that I've critiqued.
4:30 as a pianist, it even trips me when I play it! It sounds like my hands are making more sound. It’s not the hardest thing, it just takes a little practice to make it smooth and out the two hands together
Brilliant analysis Mr Goss! I thank you for your time and dedication :)
Amazing videos, my friend. Absolutely best orchestration break down on the internet. Thanks!
Thanks so much, Kc! I really appreciate that comment! :)
I am so overwhelmed with joy for finding this channel, i've been trying to learn how to orchestrate because i tend to get a lot of musical ideas that are usually orchestral in nature.
Loving the Ravel lessons even more than I already love your other videos! Can't wait until we get to the string harmonics at rehearsal 15. In fact ... any chance someday you could do an entire video on Ravel's masterful use of string harmonics? Such an inspiration he is.
Thank you and thank you. This is beyond educational
Great analysis and guidance, thank you !
This is my favorite orchestral piece!!!!
Good job! Enjoying this very much. I know it takes a lot to do the graphics and thinking.
Deeply Grateful...
Learning much. Please more! Thank you!
Bravo Maestro. Great analysis.
Wonderful lesson!!! I hope to see your analysis of the rest of the piece.
Excellent, thanks for the insightful video!
Wonderful Thomas! Thank you so much for your insights!
If I could I'd give theese 300 likes and 5000 views right now! Thank You for this great video!
Good job! A very detail oriented lesson.
Your videos are opening my ears in an incredible way, thanj you so very much
wow this is great!!! thanks!
thank you. your lessons help me a lot!
8:51 Hey Thomas, do you have the Sibelius transcription for the orchestra version? Could you send it to me?
really enjoying these videos, thank you :)
thank you!It's a great work!
I love this so so much! Huge Ravel fan. I’ve played and performed nearly all his piano works including the concerto. Although I’ve played clarinet in a few of his orchestral works, I haven’t studied them in-depth. As a professional orchestrator, I find your lessons unique and truly applicable. I’m listening now at the gym and I’m so inspired to get home to my composing and see what textures I can try out. Do you teach privately?
very interesting!
Hi thanks for your video
Glad you liked it!
Please make a Sibelius orchestration lesson!!
I'm already wishing Ravel was my teacher
As much as I like this channel, I wished that there was some kind of structural arrangement lessons. What are some tricks for transition music between theme a and theme b. What is actual development and to what extent can I recycle my orchestration when repeating a theme.... I consider orchestration more accessible while reading a score, but recognising the structure is still a problem (for me at last).
All the answers to your questions are inherent in all these lessons. :) The strategies you seek for can be approached in myriad ways, and they're there to be studied from many different angles. I can only teach what I'm best at.
The pedal tone you mentioned...G#, I'm confused, maybe I missed something. In the original piano version you showed that that chord was an F#6. How does the G# fit into all of that? Excellent video!!
It's sort of a low suspended second that's disregarded by the ear because of how strong the resolution to the F#6 is, but it seems to add a very nice effect in my opinion.
Hey, I know you commented this a long time ago...but here's my take on it.
"Thank you so much for putting these videos out, Mr. Goss! (Responding to your insight at 17:41, bar 37, mainly a note-to-self) I think Ravel means for that last resolution to be a G#sus9. The chord is the same in the piano part, it just takes some time for the hands to descend to the root. I wish he would have added a C# to the brass voicing (and maybe a low G#) to provide both a clearer sense of harmony on the downbeat and support to the strings. The D#m triad there is piercing and hollow; adding C# would give it warmth with that M2. Probably the first time I have ever found something in Ravel's writing that I've critiqued."
This is doctoral thesis and analysis postgraduate work. All you need is way too many theory chords, except not, because this is the most thorough work I've seen on scores analysis on this website. Exceptional work - here's your diploma; I'll expect the manuscript to your textbook in...oh! It's already done? Yeah, it's already done! #professional
Does anyone know the performers for both the piano and orchestra versions? Thanks!
Check the credits at 21:36.
What does it meanto have a piece that's in 6/8 and 2/4 at the same tiime?
Obviously they're in theory te same thing, but with different rhythmical impulses, but to play two different time signatures at once in the same part. What does that even mean?
It means that even though the beat is essentially the same from the conductor - a downstroke and an upstroke - different players in the orchestra will be understanding the beat in different ways, and possibly different emphases. This kind of multiple time signature approach happens quite frequently.
why do you find all these piano reduction of orchestral scores?
awsome channel btw.
Hi k wane - perhaps you didn't understand, but the original score is a piano score. Ravel orchestrated this piece after writing it for piano. So anyone can find both versions of the score on IMSLP.
it's originally a piano piece
The moustache makes ravel dirty 😭💀
Hi! Great video. But when are you going to analyse some atonal music? Schönberg's Variations for Orchestra, Violin Concerto and Moses und Aron have great orchestration. Webern's Variations and Cantatas are awesome, just look at those timbres! Also, Berg's Violin Concerto has great places too. Anyway, thank you for the great video.
Hi Tesa! I think you've asked this question before, and my answer is still that I'd like to analyse Schoenberg's Five Pieces for Orchestra, but it's going to be a while.
Good! Bu he should talk a bit slower.
richard strauss when
Please make a Sibelius orchestration lesson!!