Erik Satie - Gymnopédie No. 3

“These three short and simplistic pieces are written in ¾, each harboring a common structure and theme. Another common feature includes a piano bass note, which is held up for a whole bar, accompanied by a half-note also in the bass, on the 2nd and 3rd beats of the bar. The main melodic line is held by the upper hand playing the piano, with simple quarter notes. All rhythms are based on this motif, with only the player’s top hand experiencing variations. These variations sometimes hold long notes, complementing the tonal structure of the chords. The variations on the “half-note” (minim) also demonstrate the same elongated rhythms, a characteristic highly favored in Impressionist music. The minims are the driving force in all versions, often pursued by two crotchets, as they gently push the music forward, in all three pieces of music. This effect brings a sense of continuity to the music and ties the three pieces together, with repetitive harmony. The melodies of “Trois Gymnopédies” evoke mild, yet deliberate discordances against the harmony. There’s almost a melancholy, piquant effect, matching the composer’s intent. The performance instructions direct the performers to create a grave, sad, and painful tone while playing each piece.” “The final Gymnopédie is also in C major, and continues the same pattern on the half-note. The bass oscillates between A and D as the upper hand plays the half-note. There is a triad in C major, accompanied by a B, a E, and a G, on the alternative bars. The finale finishes with 2 dotted crotchets, a lower hand C, E, and A, and an upper hand C, E, A, and C. The last chords truly evoke a certitude, a melancholic sadness prevalent among all 3 versions of Gymnopédies.” Source: https://galaxymusicnotes.com/pages/le...