Debussy String Quartet Mvt 3 | MM Pod Ep. 14

Hinzugefügt: 2026-05-08

[00:00:15][music] [music] [music] >> What?

[00:00:47]Why you got to stop it though, you know?

[00:00:49]That's my real question. It's why can't we just listen to the whole thing?

[00:00:54]Um Do you know it? Uh yeah, I do know it.

[00:00:58]Uh I think. Should I guess? Guess. Is Debussy String Quartet? Good job. Is it um third movement? Wow. Hey, hey. Hey, hey, hey, hey.

[00:01:09]>> [applause] >> Thank you.

[00:01:12]Hm, very nice. Do you know which string quartet number?

[00:01:17]Uh what? Which string quartet number by Debussy? I thought he only wrote one.

[00:01:22]Woah, dude, you're on point today.

[00:01:24][laughter] I'm pasting it.

[00:01:27]What are you talking about number?

[00:01:30]Wow. How did you know that? Uh I just know the truth. How about you?

[00:01:35]Wow. Okay.

[00:01:36]Damn. [laughter] Uh I think I think I knew that because I know about Ravel and Debussy String Quartets and I know Ravel's often sort of following in Debussy's footsteps in some ways and they both as far as I know just wrote one. And man, I don't know if this is the Aben Quartet. It is. All right, take care.

[00:01:55]So, I just paste three for three.

[00:01:57]Everything. I guess I'll just head out now.

[00:01:59]>> [laughter] >> We're done here. So, hey, thanks for tuning in.

[00:02:04]Man, funny cuz we were just talking about La Mer and just like wow. Hm.

[00:02:09]>> [snorts] >> Yeah, before we started recording this morning, we were just like playing through Debussy stuff and Tristan was pasting La Mer like out of nowhere.

[00:02:19]>> [laughter] >> Not going to do it again though cuz I'll fold. So, fine. Um cool. Well, yeah, this is Debussy's only string quartet.

[00:02:27]Um he We'll get into why it's his only string quartet. It's basically like he was still finding his voice. He was 31 when he wrote this and this was a year before he wrote Preludes, The Afternoon of a Faun and then it just totally changed music. [laughter] But he was still finding his voice and his mentor when he showed him the quartet was like, "Dude, this is way too radical. It's way too out there. Like I'm not behind this, you know."

[00:02:54]And so this is actually Debussy's only piece that has an opus number and a a key signature attached to it. It's in C minor. Hm, yeah. Everything else is just like La Mer or this thing. It's just images and things like that.

[00:03:06]Woah. Wow, very interesting. I didn't know that.

[00:03:08]>> Cuz he was basically this is one of the last things he wrote where he was still in like the strict tradition that came beforehand. Like >> [snorts] >> string quartet has a lot of just like I don't want to say baggage but just traditions. Like you got to do it like Beethoven and Haydn. There's like a way it goes. You got to do sonata allegro form and he's like I don't want to do any of that. Yeah.

[00:03:26]>> [laughter] >> I just want to make music for these four players.

[00:03:31]Is that so bad? Yeah. Um I have I So, I I don't know how to really crack into this other than just showing you this. But um I thought it was really funny. I was trying to figure out what inspired um Debussy's style and his music and in So, a few years before he wrote this and like Preludes, Afternoon of a Faun, he was at the Paris Exposition and he saw Javanese Gamelan music for the first time. Right. Yeah. You know this Have you seen this kind of music? Um I think I have because I I heard about I've heard about Gamelan music and in relation to classical music in some capacity. So, I don't know if it but is there a video or something or There is a video.

[00:04:17]>> [laughter] >> Let me know if you can see it. All right, let me know. Heading over. Oh my god. Dude, woah. Okay. Wow, beautiful.

[00:04:25]Where are we? Encore what?

[00:04:27]Um Yeah, maybe. It's like >> Well, that's Cambodia. Yeah, man. Uh Java is in the in the Indonesia. Okay.

[00:04:35]Oh, man. Anyways. Cool. Yeah.

[00:04:37]Before I play this, this is like a minute and a half cuz >> [laughter] >> This is going to break you and the listeners but just imagine it's your late 1800s, you're Debussy, you're at this exposition in Paris and this group rolls up and just busts into this.

[00:04:59]>> [music and bell] [music] [music and bell] [music] [music] [music] [music] >> Oh my god. Is that it? That's it. What?

[00:06:21]I mean Dude, imagine being in Paris. Imagine being in LA 2026 and watching that [laughter] for the first time.

[00:06:29]That is ridiculous. That is wildly inspiring compared to like the kind of stuff that we're used to and like like I said, you know, I'm in DAW music land a lot of the time so I'm like doing computer music and film scoring which is I love and stuff but this is so different. This is just some dudes just you know, doing random >> [sighs] >> Wow. And so Debussy saw that and was like nice. Debussy saw that and he was like, "Dude, [ __ ] it. There are no rules. I'm writing whatever I want to write."

[00:07:03]>> [laughter] >> Yeah, that's confirmation. There's no rules, man. You hear that and you're like, "All right, anything goes."

[00:07:09][laughter] That's proof. That's cool. That's inspiring, you know? I I get why he was into that. Man. Okay, so he saw this before he wrote this string quartet or what? He saw it a few years before he wrote the string quartet and then Preludes, Afternoon of a Faun and then he's just off in another world. He's like, "Dude, I'm going away from Beethoven and Haydn. I'm doing my own thing. Yeah, he is. Wow, God bless him, dude. Come on.

[00:07:35]>> [sighs] >> Yeah, but this idea of like seeing something and being like, "Dude, I'm throwing out the rules. I'm doing my own thing now." Yeah, that's inspiring. God damn, dude. Pretty good. Pretty good.

[00:07:45]Pretty good.

[00:07:46]>> So, I'm going to play just the first four bars of this movement and you have to tell me what key it's in.

[00:07:56]Here's a hint. The rest of the quartet is in G minor. Okay.

[00:08:07]>> [music] [music] >> It's a spoiler. Oh, I was a spoiler.

[00:08:36]>> [laughter] >> All right, so oh. Oh.

[00:08:43]Um So, that's [music] it starts on G.

[00:08:48]Starts on a low G on the violin, it sounds like.

[00:08:52]And then they play E major so that's anyone's guess.

[00:08:56]And then but then it does go to D flat which you just spoiled momentarily. So, I don't know. It starts on a G but then he goes to Or does it does it go to D flat?

[00:09:08]No, it's Wow. I pasted that.

[00:09:18]>> My god, dude, your ears are on fire today.

[00:09:21]>> [laughter] >> I can't believe this. I just one shot Debussy.

[00:09:26]Huh.

[00:09:27]All right.

[00:09:27]>> Dude, very impressive. All right, I'm going to play the whole next section and then we'll actually get into it. Okay.

[00:10:32]>> [music] >> Okay.

[00:10:51]Wow, such dynamics in that performance.

[00:10:53]These guys are so good. This recording is ridiculous. It's It's the same album with like Ravel, Debussy, and Fauré something probably string quartet. Yeah.

[00:11:04]There's a video on YouTube. Um you've probably seen it. Yeah. Uh where it's these guys playing it for some old guy.

[00:11:10]I don't know who it is, but it's some old guy and he's just like listening to it and he's like >> It's his birthday. It's maybe his birthday.

[00:11:16]>> a birthday present. World's greatest string quartet plays Debussy third movement for you.

[00:11:22]>> [laughter] >> I I don't know where the We'll find that video. I'll put it in the description or something, but >> that video I watched it when I was in college and it was just such a game changer cuz like it's such amazing music and then sometimes it cuts to this guy who's just like a super old dude on his birthday who's just like you know, just like at peace in the most amazing performance from these live music It's just >> [sighs] >> Oh, wow. God.

[00:11:49]Way to nuke me, dude. God. This is This is emotional. All right.

[00:12:04]So, what do you hear What were you going to say?

[00:12:06]>> Oh, what I was going to say is the next part So, um they you know, when Debussy talks about throwing out the rules, it sounds like he does parallel fourth there.

[00:12:16]Yeah.

[00:12:17]He does a lot of that.

[00:12:20]I don't know if that's right.

[00:12:22]Something like Then it's But yeah, sorry. Go on.

[00:12:27]Um what do you hear So, you said D flat and you're right. Like this whole movement is in D flat, but for me it has like a dominant feel to it. Absolutely. Is the first chord a dominant chord or is it It's well, first chord is this weird augmented chord.

[00:12:41]>> Yeah, there's So, basically what I was hearing is the melody just and that's feels like it's D flat.

[00:12:49]Mhm.

[00:12:50]Right? That's sort of surrounding D flat. But I knew that there was some sort of dissonance in the first one. It So, I played D flat at first.

[00:12:58]And then I was like, that's not it.

[00:12:59]That's not Debussy.

[00:13:01]Um and then I was like, well, Debussy likes his augmented >> [laughter] >> And then I was like, okay, well, where else is he going to go? So, you take the A and then just go and then just keep going up chromatically.

[00:13:16]Wow, man. Then this next chord I'm not sure what >> I got it. I'm me.

[00:13:37]Then back to the dominant. Yeah, so It's like home is a dominant chord. Yeah.

[00:13:41]Yeah, it The crazy thing to me is that it's so obscure as what the tonic is.

[00:13:45]So, it starts vaguely in G, but then he goes in E He's just like just throwing everything. It's like whatever came before this like palate cleanser. Yeah.

[00:13:55]>> even though we're the piece is in D [music] flat, it's all framed around D flat dominant. So, it sounds like it wants to go [music] to G flat. Right.

[00:14:04]>> does eventually. But like it's it's obscuring where tonic is. And he doesn't even give you D flat. Like when he goes he could go easily.

[00:14:17]>> Right.

[00:14:17]>> But he goes just drops the floor [music] to flat six and then it's Yeah, >> [music] >> so Oh, so are you playing That's pretty ridiculous.

[00:14:43]Same again.

[00:14:48]Finally very briefly gives you the resolution >> [music] >> right there. But F major or F in the melody, so it's not actually that. He's not He's too cool for that, dude.

[00:15:01]Lame. You suck. No.

[00:15:04]Okay, sorry. Go on.

[00:15:06]So, it's crazy cuz it's in the piece is in D [music] flat. He's hanging out around D flat dominant. So, he's not even giving you tonic really ever.

[00:15:15]>> Yeah. Yeah. Yeah.

[00:15:17]And then finally resolves to where D [music] flat points to, which is G G flat for a second, but immediately just dissolves off of that.

[00:15:31]>> [laughter] >> Yeah. Okay.

[00:15:34]Mhm.

[00:15:35]Okay, um man, that's tough. No, yeah.

[00:15:39]Yeah, I don't know if I could pace that I I The thing is I thought I really thought a lot a lot lot about this from our our first episodes and I don't know how much to like get into labeling the harmonies or not cuz I feel like the important part of like that moment is gosh, yeah, I have my own uh theory about this. So, I'll play it again.

[00:16:04]Oh my god.

[00:16:12]Then it goes on.

[00:16:14]When this Okay.

[00:16:16]I don't God, it gets me so excited. I just >> [laughter] >> Let's take it easy here. Settle down.

[00:16:21]>> cuz people will talk about like, oh, this music is sensual or Debussy wrote sensual music. And I'm like, okay, what does that mean though? Like what would make music sensual? Yeah. And this when I when I play through this and hear it um it sounds like So, he hits this chord and he's like, ooh, what was that?

[00:16:50]Oh, do that again. That's nice.

[00:16:52]Nice. Yeah, [music] let's keep going.

[00:16:54]Ah, yes. You know, it has this vibe of like, ooh, that felt good. Do that again.

[00:16:59]>> Absolut- I was going to say the same thing. And it's like that's one thing we're noticing with just like music and great moments in music where it's like if if people have something that's good, you know what they do is they repeat it.

[00:17:11]You like that Tchaikovsky Romeo and Juliet thing. Mhm.

[00:17:15]Where it's the F minor I have to I don't know. Yeah, that thing. Anytime there's just an amazing moment they just They're like, "Oh, that was good." and they just sit on it for a second and then they do it again. He does it three times.

[00:17:26]>> three times. And listen, he could have This is So, this is the difference between studying something like Brahms where you can't remove any bar. Every bar is mission critical. You can't delete anything. With Debussy, if you deleted this bar like you can still flow through it. It's still nice. But he hits it and he's like, ooh.

[00:17:57]Pause. [music] Again.

[00:18:00]Again. Softer this time. Does Is that >> Softer, yeah. Get softer. Cuz they get so soft in that one and that's really compelling. You know? Ah, it's so cool.

[00:18:11]Yeah, great. Yeah.

[00:18:13]Okay. Cool, right? Like for me it's an example of like Oh, amazing. Because you can delete this, it serves no structural purpose as far as I can see. It's just because like it sounds good. It feels good. Yeah. It feels good to play. It's like, ooh, that's nice. Do that again. Like that is sensual. Correct, Claude. Yes. All right, I'm going to play the the next section through the end of the Cool.

[00:19:01]>> [music] [music] [music] [music] >> Wow. you know when he when he gives you the tonic at the end finally It really stands out as a musical moment because that's the first time we got a triad a normal chord you know >> [laughter] >> everything else is just juice and bathing and whatever happens you know but but then he's finally is like no okay now we're done.

[00:20:16]And that's cool.

[00:20:18]You know I also noticed that What was the whatever that line It's economy of material like we're constantly are talking about it's just he uses the same thing he changes keys a few bars later then he does it in the strings in a different key.

[00:20:46]Different key [music] same material.

[00:20:54]Keeps going higher.

[00:20:56]Yeah. Wow.

[00:21:13]Oh okay. Like the beginning that's like the top because he got he lands on a Yeah yeah yeah.

[00:21:18]Something something.

[00:21:20]>> [music] >> And then arrival end of the first section. Yeah he doesn't give you tonic until the very last moment and then [music] it's the end of the section. Wow seems like it's kind of tricky to play on piano but it also sounds good on strings.

[00:21:43]Moving lines constantly but you're doing great but it's um It does also sound natural on piano and WC I mean all those composers were writing on piano cuz that was the instrument that everyone had access to and so it's like makes sense that it would sound good on piano too you know um Yeah. I think he was like a really great pianist as well maybe he was a shutter. Yeah god man all right >> There's one more thing in the section I want to highlight it's similar to when you pointed out the fourths before where you goes um So In traditional like voice leading so if you're going to like write a Bach chorale or do anything that's You know within the western music tonal framework this is all illegal like like you're he's just doing parallel chords like you're not allowed to do that. Like he's like WC's like have you heard JAVANESE GAMELAN MUSIC THERE ARE NO rules dude it sounds good it sounds good I like it. Sounds good is good.

[00:22:53]It's like it sounds good it's just such a different way of thinking about music that it's not this rules based thing it's like well what just Feels good to play.

[00:23:02]>> It's the right way of thinking I think you know cuz music is such a viscerally felt experience so it's like I understand there's patterns and that's what the rules are that some people talk about you know and I get it you know but Yeah it's better when you just like check out a gamelan group and you're like what are you talking about like that's crazy. [laughter] Downbeats you know Time signature you know whatever that's a lot more interesting to these composers and I think that's that's so cool that then he translated it into The classical tradition in a sense you know or the music tradition of the time but he just wow amazing.

[00:23:43]Great.

[00:23:44]>> Yeah so that's that's an example of things to our modern ears that like yeah that just sounds nice but to ears in the late 1800s like you're breaking all the rules I can't even be associated with you. Yeah yeah.

[00:23:55]Okay. So silly. Yeah stupid you suck whatever.

[00:24:00]Anyways so that's the whole first section this next section I've I've just going to play it I've nothing to say about this I'm scared.

[00:24:43]>> [music] >> Game of Thrones.

[00:24:53]That's just Medieval like no rules you know so those those chords that come in feel very medieval in a sense they feel very like But man this performance and recording is so good like I love that you can hear every the viola player you hear every you hear's finger press the strings down you know and like it's just You you can Touch the sound >> [laughter] >> And it's Yeah it's a very intimate recording there's even things other like sounds in the room like they they really got it close it sounds like.

[00:25:29]>> Yes it's like bumping and I don't care I feel like I'm in that room I mean you know That was definitely the goal I'm sure you know so and god bless them dude these guys are just incredible that group is amazing so yeah. Yeah so we ended the whole first section D flat major now.

[00:25:56]So that I'm not going to play it yet so that's [laughter] C sharp minor roughly. Vague. And then ends on I can't even describe how genius this is I don't know how you arrive at these kind of ideas where the whole first section it's lush it's yearning it's evolving this is A single line a single melody line that stops and then Perfect fifths.

[00:26:28]Oh my god. Just this elemental sublime sound so it's like going from the most tension to just Open. But there's still a is there still that beat in there so it's the third yeah so it's still a major chord but it's so open voiced four people when he makes it as big as possible and like broad as possible and then the next one's What's >> [music] >> Just fifths. Pure fifths. Yeah just like open space he does that a lot sound can cathedral his piano piece Um I don't I don't remember Yeah I'm not sure.

[00:27:15]>> Yeah it's just it's basically that you know just fifths up top somewhere really it's amazing everyone should check it out but yes sorry next. But just talk about contrast we're not only going major to minor Everyone playing to a single person playing and then dense harmonies to open fifths. Yeah two notes spread around several octaves cool good. Good. God it's just I don't know why I just can't believe this moment I don't know how he came up with it like to just have a single line and then the fifths come in. It's like it's just a visionary thing. It must have been revolutionary at the time when it's like you know just string quartets had such a thing to them and they were in the key and whatever and this guy's like 30 you know he's like [ __ ] that you know I just paste it and does you know prayer I guess Right.

[00:28:13]Anyways this is what comes after that.

[00:28:26]>> [music] [music] [music] [music] [music] [music] >> Wow.

[00:29:13]This piece is like a viola sweat dream you know they have [laughter] so many great moments.

[00:29:23]Woah.

[00:29:32]Nice. You painting bro?

[00:29:35]>> [laughter] >> Twinkly little Yeah. Yeah you were doing this at the beginning what was that?

[00:29:42]>> Yeah it feels like a dialogue you know it feels was between the two violins because the vio- one violin plays the similar kind of thing we're used to.

[00:29:52]And then they're just Whatever it is. Yeah. Sorry. No, it's great. It's great. But it's not it's hard. But it yeah, it feels like a conversation, you know, and that's why I was kind of doing that. Um because it feels like they're they're talking sort of over each other but with each other and like it's so cool that then yeah, he goes from such a stripped-down one viola alone broad chords that are inexplicable and make no sense in terms of tradition and then back to viola solo broad chords medieval whatever and then he stops and then he brings in the violin with the same material and then another violin comes in and starts the descending conversation whatever it's just it's amazing to hear it, you know, all together and it's >> [sighs] >> Yeah, it's so cool how he develops the materials. It's like single voice now we have two voices doing it.

[00:30:45]>> Yeah. And then that conversation um it starts like blending together [music] the they it starts to just becoming like this amorphous pentatonic blob.

[00:30:57]Um [music] so then we get this pentatonic chord that they're doing and then we have the viola come in.

[00:31:11]Now.

[00:31:12]>> So I got things to say about this. So part of my suspicion with the gamelan music I played the craziest gamelan music I could find for you. I don't think it was representative of what he heard. Yeah.

[00:31:23]>> But what he likely heard was stuff that was uh very pentatonic based. Mhm. Cuz a lot of pentatonic scale so it's a five-note scale so you have like this is the closest not this is one of the closest things we have to a musical universal across cultures that it seems like independently wherever you are in the world you stumble upon the pentatonic scale.

[00:31:48]>> Woah.

[00:31:48]And there's theories as to why like some people say it has to do with like the overtone series like just stacking fifths because if you were to go say like just stack fifths and put it all in the same octave you get the pentatonic scale. So it has some relationship to like uh the the acoustics of sound itself.

[00:32:13]>> Yeah. Yeah. Uh and then also >> [music] >> there also there's no um wrong notes like there's no tritones or minor seconds so [music] like you can go Like you can play anything whether it's folk music and it all like sounds good like you can improvise and there's no wrong notes.

[00:32:33]And so much folk music yeah even like when you think of like fiddle or like stuff in America that stuff is also often pentatonic and like Celtic music, you know, um American >> very interesting Asian African, Celtic, Chinese, Indonesian um Indian like it's just everyone finds this scale African.

[00:32:55]>> Yes. Like it's just the kalimbas everything is pentatonic. Wow.

[00:32:59]Incredible. And I think yeah the the the overtone thing makes a lot of sense um just the way that sound works and yeah there's no wrong notes so nothing is everything is equally dissonant in a sense. Yes.

[00:33:11]And so that's that uniformity you can just you cannot you can be an early musician who doesn't know music and you're just you know, putzing around and you can make something that sounds all right. Yes. And you're like what's that?

[00:33:22]Yeah.

[00:33:23]Cool. Yeah.

[00:33:24]>> Wow. Okay.

[00:33:27]So the violins dissolve into this kind of pentatonic [music] texture and what's really cool that I like that he plays with is uh tell me if you think the viola melody is major or minor.

[00:33:50]>> [sighs] >> I just feel it in my heart that's all.

[00:33:53]Uh but I guess I guess I would say minor vaguely. Um But if I just play That doesn't sound minor. It sounds major, right? It sounds major. Yeah.

[00:34:08]That's the that's the soul part.

[00:34:13]That's the But so the cool thing about pentatonic too is that depending on how you arrange the notes it can sound major or minor with the same notes. Mhm. So you can either have um So like this has like a minor sound to it. Mhm.

[00:34:32]But if you have >> [music] >> Same notes just arranged differently and you can color it major or minor. Mhm.

[00:34:43]Totally. Wow. Amazing. Cool. Yeah.

[00:34:47]He does the same thing with cello. It like so you >> [music] [music] >> The cello one sounds a little more major to me so and maybe it's cuz it starts on an E.

[00:35:08]Um >> [music] >> I think it's cuz of how the violins are voiced to be.

[00:35:14]Instead of But also cello starts on pentatonic in E major maybe.

[00:35:20]Or maybe no maybe it's the same.

[00:35:22]Yeah.

[00:35:26]I think the point is that he glides between it feeling major and minor and he's able to do that because of the multivalent nature of the pentatonic scale. Wow that sounded really fancy.

[00:35:36]>> mean? Yeah what I don't know what it means. It has like multiple meanings depending on how you look at it. It's like is it major or is it minor?

[00:35:44]Cuz like Same note. That feels major. That feels major to me. This feels major.

[00:35:54]Yeah. What about this?

[00:35:57]Yeah I mean that feels more minor leaning minor. It's just cuz of the note this Yeah.

[00:36:06]It's is it just the the bass or the bottom note perhaps you know Maybe. Yeah.

[00:36:12]>> Yeah. And that's the Anyways I just think it's a cool example of Debussy playing with this color that I he seems to have borrowed from other cultures because pentatonic scales especially back in his day it's like they're not that's not used in like Western music. Yeah.

[00:36:32]But he was like screw it I'm going to do it and he does it a ton in all of his music in all the repertoire I know of his, you know, uh it has that texture of yeah. Fifths pentatonic, you know, all all of his piano music uh Pagodes or whatever. Yeah. It's I don't know what it is but it's all just pentatonic twinkles up high, you know, um and God I just want to I want to learn all that music. So anyways great.

[00:36:55]>> us again like to our modern ears like it's like nice sounds [music] good but if you're if you're used to hearing Beethoven and Haydn on Shinkyo that these are that's like one of the most strict forms. It's like dude first movement has to be sonata allegro.

[00:37:10]There's so many rigid rules and expectations and he's like have you heard pentatonic scales?

[00:37:16]>> [laughter] >> Have you heard the five-note scale? So there we go.

[00:37:20]Cool. Yeah.

[00:37:22]Cool. So um yeah there's a whole middle section and it's beautiful and climaxes so then he goes back to like the elemental fifths but and then goes back to the very beginning but I want to play the ending because the ending this whole coda section is really special. Oh man.

[00:37:39]I'm going to play this. All right.

[00:37:45]>> [music] [music] [music] [snorts] [laughter] >> I'm fine.

[00:39:05]I'm fine.

[00:39:06]>> [laughter] >> I'm not fine.

[00:39:09]I'm like I'm just so >> [laughter] >> like a nuke tried this dude. Like I did not expect like this and I did not know what you were going to just play at me and I forgot about all this, you know, but it's just what is going on?

[00:39:25]Amazing.

[00:39:41]Rules?

[00:39:43]I don't care about rules.

[00:39:46]I care about the truth.

[00:39:48]So, he's just flipping between major and minor there? Is that what it is? Right.

[00:39:52]Now, get this. Tell me if I'm going too far with this interpretation, but [clears throat] great music tends to be Yeah, too far.

[00:39:59]>> fractal in the sense that it's like Russian nesting dolls that the parts relate to the whole. So, in this little, you know, we're going back and forth between D-flat major, C-sharp minor, whatever you want to call it enharmonically.

[00:40:19]The structure of this entire movement does the same thing.

[00:40:24]Uh okay. Okay, explain.

[00:40:27]Like uh The whole first section is in D-flat major. The whole next section Okay.

[00:40:41]is in C-sharp minor.

[00:40:43]>> C-sharp. Yeah, yeah.

[00:40:44]Okay. Um goes back to like the middle major section, hits the minor again, goes back to major. So, I think there's a relationship between the whole and this little end coda Okay.

[00:40:57]>> he's playing with like starting major, coloring it minor, going back to like going back and forth between major and minor. Yeah.

[00:41:04]I can I can buy that. You know, I smell your stepping in. I hate that phrase, but I got nothing better, so okay.

[00:41:10]Smell your stepping in. Disgusting, but okay.

[00:41:13]>> [laughter] >> Uh C-sharp minor.

[00:41:15]Okay. Yeah, yeah, but I all right, all right. Yeah. Yeah. Wow.

[00:41:20]Oh God. Oh man, I'm just still thinking about the ending. I'm like I'm just kind of nuked, you know?

[00:41:26]>> [laughter] >> Yeah, it's a lot to process. It's just a lot to handle emotionally. When I wake up, dude, come on.

[00:41:33]>> [laughter] >> Oh my god. Straight out of bed, and just getting nuked, but but wow, it's it's worth talking about, though, you know? There's so much great music in this And And this is just one movement, too. You know, there's so many other great things in other movements. Um but Oh [sighs] God.

[00:41:51]Wow.

[00:41:52]Bless you.

[00:41:53]>> Yeah. That's all I got. If you want anything, I'll just play us out. No, yeah, let's play us out. I don't really have much else besides, please listen to that recording. We're going to have links in the description. Tell us if you like it, too, cuz if you don't >> [laughter] >> I'm not going to say I just say >> Yeah, that whole album, especially the Ravel Quartet, is unbelievable. It's the definitive recording. Yeah. Um or maybe that's Yeah. Uh I There's so much great stuff in the in the faster movements, too. There's so much great stuff in these um Oh. Yeah, so just check out the whole album. And we'll also have a link to the video of the um of that What is the the Ben Yeah, they played for Maestro Pressler sometime.

[00:42:35]>> Yes, yes, we'll find that video and we'll link it. And you got to watch that and watch it with a straight face and don't sob. Don't be weak like me. Um so, all right.

[00:42:44]Yeah, dude, play us out. I got nothing else.

[00:42:55]>> [music] [music]