It’s been years since I learned Claude Debussy’s coloristic Arabesque No. 1, so my recent revisit was a reminder of how a solid learning foundation can deepen a musical reconnection.
Reviewing an “old” piece brings a renewed opportunity to delve into its character, form, structure, harmonic flow, phrasing, etc. while keeping an open mind about fingering choices. Fundamental “housekeeping” revisions may spring from experiences with music of diverse eras that have widened a music learner’s horizons on technical and musical levels.
The counterpoint of J.S. Bach, for example, spills into the “voicing” arena, even as we advance the clock 200 years to a musical period that embraces moods, colors, and blurred harmonies. We cross-reference and cross-fertilize as we practice Baroque Inventions, Preludes, Fugues; Classical era sonatas; Romantic period repertoire, and explore a rich repository of tonalities intermingled with dissonance. The journeys, regardless of historical period, are complementary.
Naturally, teaching a particular composition is another form of revisit that stretches our perspective and ripens our understanding of a composition.
The Debussy Arabesque No. 1, has been part of my learning and mentoring archive for years, yet this latest dip into its palette of colors produced new awakenings. With a long held embrace of layered learning, that included very slow tempo practicing, framed by a singing-tone, and seamless legato, I savored this latest journey of discovery.