Quel plaisir d'apprendre à jouer cette pièce selon les précieux et avisés conseils de M. Luisada . Son expression malicieuse et ses basses karaté rendent parfaitement justice à l'esprit de M. Satie. Laissons le roder...merci beaucoup professeur
Alors, c'est très informative. Satie avec karate chops a gauche et les falanges a droite qui touche très doucement. Et le danse par Chopin qui est un mélange d'émotions féminine et masculine. De belles leçons... merci bien pour l'introduction!
Je n’avais jamais entendu pareils conseils concernant le « toucher », notamment avec la main de bronze qui tombe sur le côté ! C’est sympa mais ça fait un peu mal, question d’entraînement probablement, comme quoi jouer les œuvres d’Erik Satie mène à tout!
Automated captions are nice but if you want it all with some spice: "I am very happy to tell you about a gnossienne from satie, extremely famous and very often used in cinema, at the theater and ballet; that amateurs and pros love to play. It's a Gnossienne in A minor. So, a little advice: you must play this piece in a simple manner, deprived of any feelings or expression. If you start to play with expression, with rubato (like Schumann, Chopin or Liszt), this piece will become unbearable to hear. You have to play something really simple, relentless, it shouldn't move an inch. Satie gives you some bass: whole notes. There's an A. To have a very deep bass in this song, your elbow much slightly touch your rib. And then, the hand, in a bridge, slightly at an angle, with the pinky finger's last phalanx slightly rounded and super solid. Like this, you can play piano (soft) with a very deep sound. Pedal first and you can start. If you play without pedal, or pedal after, with a pinky finger not rounded, you'll have that sound (2'30); which is a little bit sad and will not give this piece its deepness. You must know that to have a deep play, you MUST have bass; it's the house fondations, without them everything falls apart. The left hand is vital. So you have your left hand like this, and you can start the piece. Above all: do not move a thing, do not change tempo, and do not be sentimental. When I say feelings, I mean: don't do *** plays like schumann and friends *** (3'19) . A lot of amateurs play like this, they think it's cool but after 3mn it's booooring. I assure you you must play simple, straight. I'll have you play the bass of the E with the right hand. It will sound deeper and heartbreaking. (4.20) Satie writes "Aucune nuance" (= no nuance). But he also writes surrealists comments that are delightful. There he writes "Munissez-vous de clairvoyance" (="""arm yourself with clear-sightedness""" (1)) -> you can do whatever you want about that clear-sightedness, for me I try to hold on the sound, as if to control the situation. He adds a crescendo and a diminuendo: you must do them. "Seul pendant un instant" (= "alone for a moment") left hand again. (5'50) Then, here, I think you must play forte. With the thumb up, you close the fist and attack F# like this (***demonstrates the attack***). Go on again mezzo forte. He writes a funny lil' sentence: "De manière à obtenir un creux" (="so as to obtain a cavity / quiet moment"). Then Mezzo forte. (6'37) And there, instead of writing "pianissimo", he writes "très perdu". I advise you to put the second pedal (una corda) and play extremely in soft, pressing the keys only halfway. (7'02) "Portez cela plus loin" (= carry this further away) == Moar sound projection. To have a bigger sound, you must attack like in karate! Open your hand and with your arm you will ATTACK the bass. Here's an example on C. ***karate attacks*** which gives a powerful sound, that can be heard in a concert hall of 3000 peeps (without sound system). Like this. You let your arm fall light as a feather, but the hand must be made of BRONZE. So for this effect, make sure to aim at the right key. ***does not aim at the right key*** ...hey I didn't look right. Mmmkay. (8.33) "Ouvrez la tête" (=open the head) I think that means open the sound, look, he writes a crescendo. Then a second time. And there I play double forte! The strongest. (9.21) And there you start to come down. Satie writes "Enfouissez le son" (=bury the sound). Play mezzo piano with the left pedal (una corda). Play soft, then play double piano, then quadrupple piano, and let the sound DIE. And then softly remove the pedal, and SOFTLY remove your hands. Everything soft. That, my friend, gives the atmosphere. I wish you good luck in learning this Gnossienne. Maybe you picture yourself in a Magritte painting, and imagine this lil' satie guy whispering at your ear his lil' sentences while you play. I think you will suddenly start to play really well." ~ THE END ~ Notes from the translator: (1) Sorry, best effort to translate this french thing ¯\_(ツ)_/¯
This is so excellent!! I am German, and I speak English and French fluently, so I should know...and I am a translator too. Good job! A service to mankind.
¿Y quién dice que no se ha de interpretar con sentimiento? ¿Acaso la música no es en su esencia sentimiento y expresividad? ¿Dónde lo dice Satie en su partitura? Me parece monstruosa su interpretación de esta obra, por ejemplo, quando Satie dice en la partitura después de” tres perdu” “portez cela plus loin”, interpreto todo lo contrario de su forte, creo que más bien se refiere toda vía más lejos más perdido…como etéreo, en la lejanía… no encaja su fortísimo aquí. Bueno esta es su opinión personal de la obra.
For some reason, I am the kind of idiot that can get mad about things like this. Roge and De Leeuw sold a bunch of records playing this song, and they both need to be pushed off a cliff. This guy gets it. Just play it straight and don't go for a bunch of ham-handed rubato. There's enough drama in the music that you don't have to overdo everything.
On joue cette pièce comme ON VEUT, comme on aime l'entendre et la jouer!! Insupportable à l'audition selon vos critères de psychorigide egocentré !! Vous ne détenez aucun monopole de bon goût. Malgré votre expérience, la vérité n'est pas au creux de vos mains.
