Ravel's music is so incredibly well-crafted that it's hard to find a fault in it. Tombeau de Couperin is the best example of this; a dated form of a baroque suite with so much musical innovatiion and pulled off so successfully that it feels entirely natural.
I don't like using the word "perfect", but Ravel's music is just that: perfection. Beautiful, full of complexity and precision. That second chord in Forlane is so unique. I am glad to see that I am not the only one perplexed by it.
I have never been too much of a fan of Ravel, but you really helped me appreciate the thought he puts into his unusual harmonies. This piece puts an image in my mind of some lad walking down the street - trying to look cool with shades, a trench coat, and a nonchalant strut - but is drawing the most of his attention by his constantly tripping. Even if that image is a little odd, the piece has character, for sure, and is far from boring. I appreciate your helping me see that so clearly.
PLEASE DO A PART 2!!! Thank you so much for making an analysis of this piece, which is one of the most beautiful pieces I’ve heard composed for the piano. Oh especially when it goes to the b section of the piece, sheer gorgeousness. The whole of Le Tombeau De Couperin is amazing, when I first heard it (the orchestral actually) around the age of 16 it sounded like music I’d loved my whole life, and I haven’t had that same phenomenon happen with many other pieces. Many thanks again, this video has earned you a subscriber! 🙂
This piece tickles my brain so much, I've listened to it dozens of times and still get surprised by where the harmonies go. The tonal center just keeps moving to different spots.
I've always added it up to Ravel favoring an augmented flavor for this main theme, often with a maj 7th dissonance in the upper voice, kind of chord-planing on that color. But thank you for bringing some functional sense into it. Love your work.
Discovered this channel and every video is so awesome! Please keep going with your analysis videos! They are profoundly inspiring! Hope this channel blows up!
I remember reading an explanation of the harmony of this piece in a Ravel biography, probably 40 years ago. This is the first time I have actually understood an analysis of this, although I've always found the piece fascinating.
I really liked the video! Very good explanation, I am studying Le Tombeau de Couperin for my last piano year, and i'd really love to watch the analysis of the whole Forlane (it is my favourite number of the piece). Thank you!
If there is so often an appoggiatura, its not anymore an appoggiatura - its also part of the harmony! Its not anymore some little inflection but rather a vital part of the colours of the harmonic and should be also observed as part of the harmonic progression
I see what you mean - it's often a fine line to thread between calling notes appoggiaturas or added chord tones, it definitely could be rather subjective at times as to what we hear the function of the note at question. But in this case I'd say the voice leadings are clear enough to warrant a strong case for appoggiaturas instead of simply being a harmony note, and I also find it easier to understand as a result.
Breaking it down makes it look "easy" whereas there's no doubt that actually writing it is a whole different thing altogether and something I would indeed call genius.
So glad you did this piece. I'm a graduated jazz musician making a move towards classical inspired composition and I tried to analyze this and I didn't exactly see the things you did. What resources do you recommend to gain this classical approach to harmony? Books etc. Thanks!
Schoenberg's "A Theory of Harmony" and Persichetti's "Twentieth-Century Harmony" are revered in this field. Also, Cohn's "Audacious Euphony" is brilliant, albeit probably not what you're looking for at the moment.
@@KingstonCzajkowski I read about half of schoenbergs work. It's just too sprawling and unfocused. Most of the text is devoted to more musical philosophy than anything else. A good book but it's very difficult to draw concise and clear lessons from it.
@@MrHestichs That's definitely true, it's not one of my favorites either. It is a standard text though. If you haven't read the Persichetti definitely check it out, that one's wonderful in every way.
Could I also look at the first chord as a Chord V+ with a tonic superimposed on it and then have the next chord be like a V65#3+ to the chord IV as well?
Every subsequent time the first chord appears, it's clearly meant to be E minor. I find it hard to imagine the D sharp as a harmony note in any case. Following that, the passing chord becomes even clearer - just look at the second phrase and the voicings.
