@Gordon Shumway -
That video of "Indifference" is so long because he shows playing it on the violin at different tempos (starting the fastest) - and also the piano accompaniment is played separately (with rolling Violin score) at different tempos for you to use.
Pick the section that has the tempo you want to play at.
It's all listed in the video description - where each starts.
I wouldn't play it at 200 BPM, but it's GREAT for learning the piece. 🤣
...think I like 120 bpm - starts at 39:05.
Here's a much more expressive example of it, played by Karin De Nardi.
***Actually, "La Valse d'Amélie", by Yann Tiersen is a MUCH better example of what's been discussed in this thread! Played by Marie Leloup.
There are two Wohlfahrt studies you should look at.
Different notes, same rhythm, same idea, clearly.
Op 74 is intended to be easier than Op 45 - it's a later rewrite, I guess.
Notes and rhythm should be very familiar to everyone. I have no idea if Wohlfahrt inspired or was inspired by the Valse Musette. I assume the latter.
I like this first teacher normally, but he loses the rhythm badly at times: -
The second teacher also loses it, although he attempts to cheat: -
The key is to stress the first and third beat of every bar. Cutting the long notes short inreases the danger of it sounding like 6/8 instead of 3/4, and playing it fast is obviously trickier than playing it slowly.
It looks like I can only post one youtube link per posting.
@Gordon Shumway -
Well, looks like you and I are the only ones interested in this!
I see what you're getting at - really like both of those etudes.
I'll be starting with these, slower ones, thank you. (lol)
As far as pinning down the French haunting sound, I'm still not sure if some specific scales or modes add to the mood or if some dissonance is responsible.
There are quite a few accidentals in those 2 etudes - haven't had a chance to analyze if there's a pattern, or some motif that has something in common with the other music in this thread.
...still haven't had a chance to write a decent note to the accordion guy, yet.
I want to word my questions carefully, but Christmas cards have gotten in the way. (lol)
chromaticism...I don't know enough about music theory to know how it treats that
I've blundered here. It's important to realise that "music theory" (i.e. Western classical music theory) is a very limited animal. It only analyses the 12-tone harmonies our ET keyboards generate. Other instruments, such as African ouds, Spanish guitars and French accordions, generate voice-led(?) harmonies that simply aren't dealt with by "music theory".
Ugh, some kind of forum bug - an intervening post accidentally got deleted.
I had said that the accidentals are because #20 involves modulating between the keys of Bb, Gm and D7 with chromaticism as well, which is part of the bal-musette sound (as we agreed, possibly from the keyboard of a squeezebox).
Even if you don't chose to read music notation, I found some video play-along arrangements of Yann Tiersen music, by Irene Urgell!
💖 "La Valse d'Amélie" (Duet) - one of my favorites, so making this a priority!
Another one I absolutely 💖 - "L'homme aux bras ballants"!
A few more Yann Tiersen play-along videos, arranged by Irene Urgell, here:
Okay, ALL YOU VIOLISTS!
If you are like me, start working on more complicated Autumn & Winter pieces EARLY, otherwise I don't think about them until it's too late to learn them properly!
I found a great play-along video FOR VIOLA, in Alto Clef - by the French Composer, Camille Saint-Saëns.
Probably his most hauntingly beautiful composition, "Danse Macabre" (Developing Virtuosity)!
Great article about "La Danse Macabre", in general and it's history, at rapsodyinwords.com - here: