Yesterday afternoon I found myself mentoring a student about the nuances of a composer’s language and style in the Impressionist genre.
Claude Debussy’s Reverie, with its palette of blended colors was on display–naturally intoned in vowels rather than consonants, while its liquid phrases begged for supple wrist and relaxed arm infusions of energy. My pupil’s steely bright Yamaha upright piano which was far from the purr–fect vehicle for the creation of a veiled effect, had to be “tamed” through compensatory physical motions. These precluded any form of an articulated legato that would upset the outflow of horizontal lines.
As the lesson unfolded, the activity of SINGING–(myself and pupil echoing measures between California and North Carolina) provided the most significant translation of how we could shape notes/phrases without obtrusive accents. Through many repetitions in the opening bars and a bit beyond, we accomplished incremental refinement that was satisfying for its progress toward natural grace and fluidity. In addition, prompts fueling the imagination filtered down to the keyboard in soft, cushioned landings, advancing expressive playing.
The exchange, captured on video, communicated far more than words could express.
Below is a prior “dreamy” teaching encounter that explored rolling arpeggios in Reverie’s bass, with an infused harmonic analysis.
Finally, here’s an additional sample of Debussy’s veiled expression wrapped in tonal colors:
The Girl with the Flaxen Hair.
Original Source: Teaching the Language of Debussy in Reverie