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Claude Debussy‘s piece Reflets dans l’eau (“Reflections in the Water”) is the first of three pieces for the piano from his first volume of Images, which are frequently performed separately. It was written in 1905. As with much of Debussy’s work, it is referred to as Impressionistic, meaning that it expresses emotions and senses by making use of non-functional harmony and ambiguous key signatures, its tonality being mainly non-diatonic and usually having a sense of modality.
Reflets dans l’eau opens in a slow tempo (andantino molto) with a melody of A flat, F, E flat (which is repeated through much of the piece) while the right hand is playing a set of chords to accommodate the melody. It shares the main characteristics of French music of this period. For instance, the piece is characterized by ambiguous and fast changing harmonies.
The piece has several brief melody statements and climaxes that are more glimpses of music than full ideas, which is typical of Debussy’s middle and late piano works. This is one of the many pieces Debussy wrote about water; in particular, light reflecting off of its surface. The piece creates an image of water being not quite still, then becoming rapid, then decreasing in motion again. Reflets dans l’eau is also an example of the new tone colors Debussy discovered for the piano in this part of his life, and although he later refined this style, this piece is part of the greater achievements Debussy reached with the instrument.[1]
Some people are made of pure awesome. This is one of those individuals.
I possess a small amount of musical talent. I can carry a tune if I get a big enough bucket. Taking music lessons early in life only left me with a distaste for practicing. And that folks is at the crux of the problem. Talk about a major case of the coulda-woulda-shoulda’s.
If I had kept up with the music and actually dedicated myself to it, I could be well, above average by now. But I left it, went to school and did other things. Sure getting a degree is important, but the other recreational time, filled mostly with video games, seems like such a waste now.
It is only now that I see how much time and effort is required to get good at playing piano and singing. (I’m partaking in both and am fully cognoscente of the amount of diligence, willpower and effort required to effectively play the piano and sing with confidence.
I have been blessed with the opportunity to learn with tremendously gifted piano instructor. It is at her piano I am exposed to exactly how much more still have to learn. It isa daunting, depressing, exhilarating challenging experience that it seems I cannot get enough of right now.
I mentioned earlier of my involvement in a Choir. My vocal chops are raw and undisciplined, but with the excellent vocal coaching our choir director I have made significant progress on the Choral side of things. Another steep hill, but the learning is so challenging and rewarding.
So, neophyte pianist, neophyte tenor; where does composing fit into all of this? Rather poorly, in my initial appraisal, as composing takes all the aspects of musicianship and wads them up so it lands like a cinder-block on your head as you’re trying to write down that elusive melody that is infesting your mind.
Composing is an art unto itself, and I am yet again having another Titanic moment as I’ve seen only the tip if the musical iceberg as I have recently tackled the notion that I should be able to write a traditional round for my choir to sing.
Well, I have a finished product of sorts, but no way of accurately judging the quality or internal musical structure inherent to all good music pieces. Fortunately my piano instructor teaches composition as well and is helping me with turning a raw product into something that is not only singable, but beautiful.
The moral of the story: Hate the piano lessons, but take the idea that often if it requires hard work it is often ultimately worth it in the end.
bleatmop
Mystro
Dead Wild Roses 
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