理答 (Q/A)
Question: 想教德步西月光(Debussy clair de lune)的理 如果可能 可否解答迷津??? 很笨
(1) - 第1 小到第8 小( measure 1 to measure 8 ) 好像有一重音(downbeat) ?
(2) 第1小到第14 小( measure1 to measure 14 , it marked as 9/8), 混和著3音(triplet),及8分 音符 (eighth note) 奏很不清楚 ???? 怎算拍子counting the beat??
3) 第15小(measure15-26) 有 (tempo rubato ) rubato 是自由 free 的意思?到底怎 的自由式 或 ? (不知)
(4) 在第14小 , 有8分音符的上面著 2 (eighth note are marked with a ‘2’, 2 duplets ),它算拍??
(5) 在第19小, 出6音???(long sixth, marked as 6, ) 它算拍??
(6) what is the D flat major ‘3rds’ ?
1st ans.
(1)It's marked 'pp' and 'con sordina', so abosolutely soft - just sketch out the descending series of D flat major '3rd's
(2) It's marked 9/8, but I count in 3: a triplet to one beat, so also a duplet to one beat (your ordinary eigth notes)
(3) 'tempo rubato' is a somewhat freer rhythm - so we are supposed to borrow some time and give back some. It is really up to the artistry of the player to make this section convincing. ...
(4) As before, 2 duplets is one beat.
(5) That's another way of notating three groups of duplets - so like before, each note in the sextuplet is an eigth note, two per beat
(6) Mostly major and minor thirds on which appear between meas. 1 and 8; basically descending on degrees of the D-flat scale: f/d-flat; e-flat/c; d-flat/b-flat; c/a-flat; b-flat/g-flat; [a-flat/g-flat]; g-flat/e-flat; f/d-flat; [e-flat/d-flat]; d-flat/b-flat.
www.comemusic.com 2nd ans.
Great advice from Brian. I will try to answer the specific questions about rhythms. I've loaned out my music, so I'm answering from memory. If I make mistakes, hopefully someone will jump in and correct me.
1. downbeats: I'm not sure what you're asking. Are you wondering whether to play on beat one? No, you wait for it to go by. Breathe in on beat one, like you're going to sing, but don't play until after beat one.
2. triplets vs. eighth notes: The tricky thing about this piece is that some of the eighth notes are longer than others. In 9/8 time, normally the eighth note gets one beat, right? In this piece, they are little quick beats, the triplets that you already know about. But when you see eighth notes that have a little 2 written above, or when the eighth notes are in groups of two instead of in triplets, those eighth notes are longer than the triplet ones. The heavy feeling at the beginning of each triplet is the "big" beat. Most of the big beats get split into 3 parts to make triplets, but in the other places, they get split into only 2 parts. You have to stretch those out a little to make them fill up the big beat evenly. If that answers the question for you, skip to #3 below. If you're still not sure what to do, keep reading.
Tap your hand on all 9 beats of a measure (over and over). This is the triplet feeling that you know. Keep tapping and count out loud: "One-and-ah, two-and-ah, three-and-ah" (do this instead of counting to 9). Now keep counting the same but only tap when you say "one, two, three." Then only say the "one, two, three," the same as you tap. These are the big beats. You have to feel them strongly, because they get divided different ways, in 3's and 2's. Next, you have to practice how the 3's feel next to the 2's. Tap your slow beat and say "trip-ah-let" on each one for a while, so every beat gets divided into 3 again. Keep tapping the same speed (use a metronome if you have one) and now say "du-ple" on every beat. Duple just means something is divided in two. You'll be saying "duple" more slowly than you said "trip-ah-let" in order to use up the whole beat (say it evenly, so the "du" and the "ple" are the same). Keep tapping, and say "trip-ah-let, trip-ah-let, du-ple, du-ple" and change back and forth. Now... look at the first two pages of your music and find all the triplet patterns, then all the duple patterns.
3. free form: Brian gave an elegant answer to this. Free form is just how you feel the music, going a little faster in some places, slower in others, but as he said, first learn it in strict form, playing exactly in time. Many people don't do this, but if you do, you will sound better than they do!! And you will understand how to read complicated rhythms better than many people.
4. duples, ms. 14: Big beats cut in half like you practiced above.
5. It's just the big beat divided into 6. I can't remember exactly what the RH does here. I think it has duples. So you can take each note in the duples and make a little triplet out of that, and feel your 6's that way. That would be counting each group of 6 as "1-and-ah, 2-and-ah." If the RH is in triplets, then you can feel each 6 as 3 little groups of 2: "1-and, 2-and, 3-and." The music will sound the same either way, because the fast notes will be at the same speed either way. But one way will make it easier to match up the hands together, and you will feel more solid and strong. So just see which feeling goes with the RH in that section.
Hope this was helpful. Good luck! Let us know how you're doing.
Great advice from Brian. I ill try to answer the specific questions about rhythms. I've loaned out my music, so I'm answering from memory. If I make mistakes, hopefully someone will jump in and correct me.
1. downbeats: I'm not sure what you're asking. Are you wondering whether to play on beat one? No, you wait for it to go by. Breathe in on beat one, like you're going to sing, but don't play until after beat one.
2. triplets vs. eighth notes: The tricky thing about this piece is that some of the eighth notes are longer than others. In 9/8 time, normally the eighth note gets one beat, right? In this piece, they are little quick beats, the triplets that you already know about. But when you see eighth notes that have a little 2 written above, or when the eighth notes are in groups of two instead of in triplets, those eighth notes are longer than the triplet ones. The heavy feeling at the beginning of each triplet is the "big" beat. Most of the big beats get split into 3 parts to make triplets, but in the other places, they get split into only 2 parts. You have to stretch those out a little to make them fill up the big beat evenly. If that answers the question for you, skip to #3 below. If you're still not sure what to do, keep reading.
Tap your hand on all 9 beats of a measure (over and over). This is the triplet feeling that you know. Keep tapping and count out loud: "One-and-ah, two-and-ah, three-and-ah" (do this instead of counting to 9). Now keep counting the same but only tap when you say "one, two, three." Then only say the "one, two, three," the same as you tap. These are the big beats. You have to feel them strongly, because they get divided different ways, in 3's and 2's. Next, you have to practice how the 3's feel next to the 2's. Tap your slow beat and say "trip-ah-let" on each one for a while, so every beat gets divided into 3 again. Keep tapping the same speed (use a metronome if you have one) and now say "du-ple" on every beat. Duple just means something is divided in two. You'll be saying "duple" more slowly than you said "trip-ah-let" in order to use up the whole beat (say it evenly, so the "du" and the "ple" are the same). Keep tapping, and say "trip-ah-let, trip-ah-let, du-ple, du-ple" and change back and forth. Now... look at the first two pages of your music and find all the triplet patterns, then all the duple patterns.
3. free form: Brian gave an elegant answer to this. Free form is just how you feel the music, going a little faster in some places, slower in others, but as he said, first learn it in strict form, playing exactly in time. Many people don't do this, but if you do, you will sound better than they do!! And you will understand how to read complicated rhythms better than many people.
4. duples, ms. 14: Big beats cut in half like you practiced above.
5. It's just the big beat divided into 6. I can't remember exactly what the RH does here. I think it has duples. So you can take each note in the duples and make a little triplet out of that, and feel your 6's that way. That would be counting each group of 6 as "1-and-ah, 2-and-ah." If the RH is in triplets, then you can feel each 6 as 3 little groups of 2: "1-and, 2-and, 3-and." The music will sound the same either way, because the fast notes will be at the same speed either way. But one way will make it easier to match up the hands together, and you will feel more solid and strong. So just see which feeling goes with the RH in that section.
Hope this was helpful. Good luck! Let us know how you're doing.
Oops! I didn't have the music to look at when I answered you, and I just was able to check a score now-- so let me correct a few of my mistakes.
I see that ms. 19 with the little 6 isn't the place I had in mind. The 6 here is to convey the duple idea again, except it goes for the whole measure instead of just a beat. So it's the same speed as the duples before, but instead of writing a little 2 over each big beat, he wrote a 6 for the whole measure. What else? Oh, the next section with the fast LH is what I was thinking was your question #5. And I remembered the RH of that wrong. It is mostly in triplets, so you'll probably want to organize it the LH that way (each big beat= 1-and, 2-and, 3-and). It changes a few lines in, but by that time you'll see how fast to do the LH, so you'll have your momentum. Anyway, I believe the rest is correct (someone please speak up if it isn't)! Best of luck. .
www.pianoforum.net 3rd ans
看你好像是自己,有老指.於你的:
1). 你ㄧ提示.
第1 小到第8 小可以分成四句, 你先找出句的分法, 再每句的音型和表情, 各自可以找到重音, 但我不告你答案, 工作要靠你自己完成.
2)和4)的可以ㄧ起回覆.
第1小到第14 小的奏都很, 即如示的9/8拍. 每小有9拍, 以8分音符一拍, 但你的困惑, 建你改想成3/4拍(每小有3拍, 以四分音符一拍), 因此多拍子可以想成三音的法, 至於4)提到的"有8分音符的上面著 2", 就成平均的二音, 明很清楚吧!!
3).第15小(measure15-26) 有 (tempo rubato )
rubato是不需死板板的照奏, 而可依奏者自己的表情需要做的快慢理, 切快慢不要加地火, 所以是有限度的速度自由.
5). 在第19小, 出6音,它算拍??
同第2)的回覆, 改以3/4拍的算法, 整小的6音, 正好可以平均分成三拍, 即ㄧ般半拍的奏.
我以第18小例, 整小改3/4拍算法,
第一拍三音
第二拍平均的二音(即ㄧ般半拍的奏)
第三拍四分音符自己ㄧ拍.
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