Ravel - Jeux d’eau Tutorial - ProPractice by Josh Wright

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This 63-minute video tutorial explores an in-depth look at Jeux d’eau by Maurice Ravel. Areas of focus include how to develop a softer and more gentle touch, how to create magical colors and textures through manipulation of balance and shaping, how to use rubato effectively to enhance phrasing, melodic shaping, fingering suggestions, tempo suggestions, how to develop clarity and precision in the cadenza-like passages, how to develop speed, and many additional tips to help you become more efficient in your practice sessions.
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[@CordeliaWilliams]

YES great point about anticipating the moves - so many technical problems come from anticipation, worrying and tensing, without us even realising it! Is this one of the most uplifting and evocative openings in piano rep?

[@Sitbon08]

I really love Bertrand Chamayou’s recording of this piece.

[@fivemusicmom]

Thank you, Josh, again for incredibly detailed tutorial on this piece! Over the hand video and sound quality is superb!

[@rontomkins6727]

This is a great tutorial. You even looked a bit like Ravel! (I think a bit of your jaw-line and eyes) I was wondering if you could do one of Alborada del Gracioso and talk about different ways to play the double-stop glissando in that one.

[@VersaillesDeVil]

Very good video! I did play Alborada del Gracioso, Ondine and Chasse Neige but I still am unsatisfied with the way I am playing those pieces. I am looking forward to the day u will post a video about one of those pieces. 😇

[@Rachmaninox]

*Wow! This is helpful and* .. *I also uploaded Waltz Brillante today* *perfect timing*

[@LASoundCrafter]

Great comments. I studied a large repertoire of Debussy and Ravel with a French teacher who had studied directly with Jeanne-Marie Darré and your comments are in keeping with her advice. One of the best late intermediate early advanced pieces I studied with her was Debussy’s Pour le Piano, early work not really full on impressionist, but a harbinger for things to come. Lays in the fingers nicely.

[@AnnaKhomichkoPianist]

Agree, a great piece for that level!

[@topianissimo2606]

Hi Josh, I'm learning the Scriabin étude Op.8 No.12, and if you've learned it at some point I'd love to see a pro practice on it! These pro practices really help with every piece you've made a video of, and also apply to other pieces as well.

[@joshwrightpiano]

Thanks! That is on the list of to-do videos :)

[@topianissimo2606]

@@joshwrightpiano Awesome, thanks man!

[@KR-cc4yg]

Hi! I’d love a tutorial on the remaining Chopin ballades; especially ballade 2

[@vipinbhat6971]

He already has done ProPractice videos for all the ballades. 2. kzbin.info/www/bejne/rIewgKeihqx5m8k 3.kzbin.info/www/bejne/eZDdqKSJmaeWla8 4.kzbin.info/www/bejne/r5vIYaGbeLRlopI

[@Cheddagoblin]

Amazing timing! I'm studying this piece for my final exams.

[@felixmladenov5428]

Great tutorial! I would've loved to have that back then when I played this piece myself 😄

[@HotOlive]

Always really good teaching thank you!

[@azaleajanemusic]

8:38 Just very recently I was transcribing this piece into Finale for fun (because I'm a weirdo) and I noticed that grace note in m.6, right before that string of 64th notes, is (at least in my edition) an 8th note. The grace note at the beginning of the next bar is the same way. This _could_ be interpreted as long grace notes, meant to be longer than the measured notes surrounding or preceding them, or at least longer than a typical grace note. That is indeed a counterintuitive idea at first, but in the context of this piece (and a lot of other Ravel) it makes complete sense! These grace notes could be almost seen as little pauses or hiccups in time -- rather than its length cutting into the notes next to it, it just adds that much time to the length of the bar.

[@frankbenjamintill4877]

thank you so much. i really like the way you explain. it makes the understanding a lot more clear, even for me as a beginner.

[@azaleajanemusic]

7:35 I couldn't agree more! I think a lot about getting "off the grid" in many different styles and contexts. Meaning: moving away from playing perfectly-timed 8ths or 16ths (or whatever), but very intentionally, and often subtly. In pop contexts: Samba has "samba swing" that subdivides 16ths slightly unevenly to sound almost like a 3/2 polyrhythm but not quite. Tango has _fraseo_ - the practice of morphing the rhythms of a phrase such that it pushes and pulls, relaxes and catches up, within a measure or half-measure. And in classical, especially music like this, metronomic playing with perfect subdivisions is often simply boring. The music needs to breathe, on a macro and micro level. The notation is simply a reminder of how the music goes, not the music itself.

[@88888RustamMuradovMusicWorld]

very interesting tutorial!

[@88888RustamMuradovMusicWorld]

thank you

[@AlotusNine]

Ahh..I love this piece! Thank you Josh❤️

[@luizhenriqueniehues]

I’m a great admirer from Brazil, your knowledge has been very helpful to me. Would you consider doing a pro practice video for the Minute Waltz? I’m working on this one.

[@rainqd1889]

I would like a pro practice for this as well! Good luck Luiz

[@joshwrightpiano]

I will add it to the list :)

[@positivegrenola]

Hi josh, thankyou for all these videos they always inspire me to want to play more! I have a question regarding essential tremor, I got diagnosed a few years ago and it really affects my playing more and more - my hands have a constant slight tremor on the key-bed which ruins my touch and gets way worse under pressure -I was wondering if you’ve had any experience with students that have this and how they dealt with it, or some technical exercises to work through it. Many thanks!

[@pianoman525]

love youre work, thanks..

[@arda_egemen]

Are you turkish?

[@sophiehardy1518]

Thank you so much, this was helpful ❤️ I have a question Whenever I play the piano I can’t manage playing with both hands, like I can’t multitask I only focus on one rhythm, I even can’t speak while playing. So if you please can suggest some exercises that would help me dealing with this problem And Thanks A Lot 💛

[@sol4632]

Hey josh thank u for this! Could u Please add rachmaninov transcription of liebeslied to the pro- practice tutorials. Thank you so much!

[@joshwrightpiano]

Coming up here shortly (next month?). I’m in the performing practice stage with it for some concerts later this summer

[@leo32190]

Hello Dr. Wright, could you please do a propractice on the first movement of Beethoven op 2 no 3? Thank you!

[@leley3087]

太美了

[@lightseeker134]

Fantastic tutorial and very helpful, Josh! Thank you! Just a quick idea re: piano giveaway. If I may make nomination...Ryan Martin Bradshaw is an incredibly gifted young pianist who is worthy of contention( an excerpt of him playing with an orchestra can be seen on his own You Tube channel) :)

[@ellenqian3179]

I feel all impressionist pieces are hard

[@BenjaminGessel]

If they aren't both musically and technically hard, then they are either technically hard OR musically hard. Of course, there is always that attention to all those DETAILS... 😁😁😁😁😁 Pavane for a Dead Princess (piano version) = Easy peasy (intermediate) Clair de Lune, The Girl With the Flaxen Hair, Minuet on a Theme of Haydn, and Reverie = Moderate Difficulty (early advanced-advanced) Deux Arabesques, Golliwog's Cake Walk, easier Noble and Sentimental Waltzes movements, some Cyril Scott = Difficult (advanced) Le Tombeau de Couperin, harder Noble and Sentimental Waltzes, this piece and that one castle at the edge of the sea piece by Debussy, etc. = Very Difficult/Pro level Alborada del Gracioso = Virtuoso level

[@baole4213]

@@BenjaminGessel lets be honest…all of these are hard musically.

[@BenjaminGessel]

@@baole4213 😊👍

[@nicky6080]

How to you spell Hemla edition so I can find it

[@sunilplaysrepertoire]

Henle

[@nicky6080]

@@sunilplaysrepertoire thank you

[@88888RustamMuradovMusicWorld]

there are two mistakes at the HENLE edition

[@cherrycotapie]

i just realized how big ur hands are lol