Overview
🎶 General Overview : The more than slow
La plus que lente (which translates as “The most than slow ” or “The slowest than slow ” ) is a slow waltz for piano, composed by Claude Debussy in 1910.
1. Context and Gender
A “Slow Waltz” De- dramatized : The title is often perceived as a joke or a subtle parody of the slow waltz (English waltz) which was very popular in Parisian salons and cafés of the time. The title ironically suggests a waltz that is even slower than the usual slow waltzes.
Sophisticated Salon Music: The work is regarded as Debussy’s foray into the world of salon or café music, but it is treated with his own harmonic sophistication and impressionistic atmosphere .
2. The Musical Character
Tempo/Style Indication: Debussy marked it e Molto rubato con morbidezza (Very gently rubato). This encourages a very flexible and expressive interpretation of the tempo, accentuating the dreamy and atmospheric side .
Atmosphere and Sound : The piece is characterized by a feeling of gentle melancholy and ethereal grace . It possesses the fluid charm and shimmering harmony typical of Debussy, creating a sensual and suspended atmosphere .
Waltz Structure: Despite Debussy’s harmonic and rhythmic liberties, the work retains the structure and ternary pulse of the waltz (movements in three beats).
3. The Versions
The work is best known in its original version, but Debussy himself made an arrangement of it:
Original Version (1910): For solo piano.
Orchestral version (1912): Debussy orchestrated it for a small ensemble including strings, wind instruments ( flute , clarinet), a piano and, uniquely, a cimbalom. The addition of the cimbalom, a struck string instrument , gives it a particular sonic color often associated with “Gypsy” or Eastern European music.
In summary : It is a charming and elegant slow impressionistic waltz which, under a slightly mocking title , displays Debussy’s mastery to create a dreamy atmosphere and a supple rhythmic flow.
General History
At that time, the slow waltz (often called the “English waltz” in France) reigned supreme in the salons, cafes, and luxury hotels of the capital. It was a sentimental and fashionable musical genre , easy to listen to and dance to.
Delicate Mockery
Debussy, always critical of conventional blandness and sentimentality, decided to attack this trend with his own brand of mischief. Even the title, “La plus que lente ” (literally “The slowest than slow ” ), is an ironic wink, as if he were saying: “You want a slow waltz? I’ll give you the slowest waltz of all!”
However, instead of a simple parody or outright rejection, Debussy injected his own impressionistic genius into this popular form. He transformed the café waltz into a sophisticated and dreamy piece . By marking it Molto rubato con morbidezza (Very free in tempo with gentleness/flexibility), he encouraged a floating, almost suspended interpretation that subverted the rigidity of the dance pulse. The result was a sensual charm and a gently evoked melancholy, far removed from the ponderousness of the salon waltzes of the time.
From the Score to the Salon (and the Ball)
The work was originally intended for solo piano. It’s even said that it could have been written for Léoni, the solo violinist of the orchestra at the Hôtel Carlton in Paris, who played this kind of ambient music. This confirms the piece’s connection to the world of elegant café concerts .
Its publication by Durand in 1910 was a success , and it was even reprinted in the newspaper Le Figaro under the title Unpublished Waltz .
Given the success of his work, and perhaps also to control its dissemination, Debussy himself created an orchestral version for small ensemble two years later in 1912. This version is famous for the inclusion of an unexpected instrument: the cimbalom, whose crystalline tones add an exotic color, often associated with Gypsy music, giving the waltz an even more distinctive patina .
Ultimately, La plus que lente is the story of a musical jest transformed into a delicate gem. It is the perfect example of how Debussy could take a popular form and transcend it, giving it a depth and atmosphere incomparably richer than the original genre he seemed to be teasing.
Characteristics of Music
🎵 Musical Characteristics of “The More Than Slow”
The work is a demonstration of Debussy’s art in elevating a popular form, the waltz, to impressionistic refinement.
1. Tempo and Rhythm (A Deconstructed Waltz)
Tempo: The very title , La plus que lente (More than slow), is an ironic indication of the tempo. Debussy adds the indication Molto rubato con morbidezza (Very gently rubato). Rubato (rhythmic freedom) is key: it allows the pianist to suspend the waltz’s pulse, to constantly accelerate and decelerate, creating an impression of floating or dreamy hesitation .
Waltz Master : Despite everything, the work retains the fundamental structure of the three-beat waltz ( $\frac{3}{4}$). The left hand often maintains a regular rhythmic accompaniment (bass on the first beat , chords on the next two) reminiscent of the genre, but it is always rendered with great lightness , almost evanescent.
2. Harmony (Debussy’s Colour)
seventh , ninth , and eleventh chords that are often unresolved in a conventional way . This creates a feeling of suspension and tonal ambiguity , like a harmonic fog.
Exotic Scales: Debussy uses chromatic enrichment and, at times, pentatonic scales or modes to add a delicate and elusive sonic color, far from the strict major/minor tonal system .
Melodies and Harmonies in Octaves: We often find melodies harmonized in parallel octaves or in unison which reinforce the melodic line while avoiding traditional four -voice harmony .
3. Texture and Shape
Main Motif: The piece is built around a simple but very flexible main melodic motif . This motif recurs several times, transformed and embellished, but always recognizable.
Registers and Colors: The score utilizes a wide piano range, exploring the contrasts between low notes and sparkling high notes. The pedal indications are crucial for blending sounds and creating hazy timbres and atmospheric resonances .
Free Form: Although it is a waltz, it departs from the formal rigidity of classical waltzes. It is structured in sections that flow more freely, giving an impression of improvisation or a musical stroll without a precise destination .
4. The Orchestral Version (1912)
In his own orchestration, Debussy adds a unique timbral characteristic:
The Cimbalom: The addition of this struck string instrument , often associated with Eastern European or “Gypsy” music, offers unique percussive and crystalline timbres that underscore the melody’s strange and ethereal aspect. It’s a particularly striking touch of instrumental color in this version.
In conclusion: La plus que lente is not simply a waltz, but a study in atmosphere and suspended time. It uses the waltz rhythm as a backdrop for an exploration of rich harmonies and delicate sonic colors, typical of musical impressionism.
Style(s), movement(s) and period of composition
piece La plus que lente (1910) is a perfect example of the musical period of the end of Impressionism and the beginning of French Modernism .
🎨 Style, Movement and Period
1. The Dominant Movement: Impressionism
Style: The dominant style is musical Impressionism. Debussy is often considered the father of this movement in music, seeking to evoke impressions and atmospheres rather than to tell a story or express dramatic emotion (as in Romanticism).
Impressionist characteristics :
Colour (Timbre): Priority given to instrumental timbres and harmonic colours (the use of orchestration or the piano pedal to create rich and blended sounds ).
Suspended Time: Time is stretched and blurred (Molto rubato), giving the impression that the music is floating or drifting, like a Monet painting.
modal (ancient) scales, pentatonic (five notes) scales and whole tone scales to create an ethereal and ambiguous atmosphere .
2. Modernist and Innovator
Debussy’s music at this time is clearly innovative and marks a break with the romantic tradition.
Innovative through Harmony: It is innovative because it destroys the supremacy of traditional tonality (the major/minor system inherited from Bach and Mozart). By using modes and chords of 7ths, 9ths, etc., it paves the way for Modernism.
Modernist in its aesthetics: Although associated with Impressionism, Debussy is also considered one of the first modernists. Modernism rejects the forms and rules of the 19th century in search of a new language. In La plus que lente, this modernity is manifested by the ironic attitude towards the salon waltz genre.
3. Status in Relation to Tradition
Traditional or Innovative?: Clearly innovative. It moves away from post-romantic grandiloquence (as in Richard Strauss) and the personal lyricism of Romanticism.
Old or New?: It is a new kind of music for its time. It is a bridge between the 19th and 20th centuries , anticipating the more radical experiments of Modernism (Stravinsky, Schoenberg).
Romantic? No, she is not Romantic. She rejects the direct emotional expression of Romanticism in favor of evocation and suggestion.
Neoclassical ? No. Neoclassicism (which Stravinsky would later adopt) sought a return to the clear forms and light textures of the 18th century . Debussy remains ambiguous .
Nationalist? Yes, but in a subtle way . Debussy sought to create a French music that opposed the massive influence of the Germans (Wagner and Romanticism). His style is an affirmation of a national aesthetic based on clarity and finesse.
In short, La plus que lente is an impressionistic and modernist piece that uses a form of popular (traditional) dance to introduce a profoundly innovative harmonic and rhythmic writing.
Analysis: Form, Technique(s), Texture, Harmony, Rhythm
🔬 Musical Analysis of “La plus que lente”
1. Method(s) and Technique(s)
The compositional method used by Debussy is that of evocation and suggestion, typical of Impressionism.
The Sound Veil Technique: Debussy uses the sound veil technique where chords are not treated as rigid harmonic functions (dominant to tonic), but as blocks of color or timbres that overlap and blend, often aided by the piano pedal.
Melody -Harmony: The melody is often doubled in floating chords or harmonized in a very soft and fluid manner , avoiding abrupt contrasts.
2. Texture and Polyphony/Monophony
The music is primarily homophonic in nature (a main melody with an accompaniment), but its texture is rich and varied. It is neither strictly monophonic (a single melodic line) nor strictly polyphonic (several independent melodies , like a fugue).
Texture: It is characterized by a light and diaphanous texture . The left – hand accompaniment is a delicately sustained waltz pulse (bass then chords), providing rhythmic support without weighing down the main melody of the right hand.
Waltz in Suspension: The lines are often intertwined (close hands), using the middle register of the piano for an intimate sound, giving an impression of effortless movement.
3. Form and Structure
The form of La plus que lente is a variation on the waltz model, but treated with a formal freedom that avoids the rigid structure of the classical waltz .
Structure: It follows an ABA’ type structure, typical of lyrical pieces , but with great fluidity between sections, avoiding sharp breaks.
Section A: Presents the main motif, characterized by its descending melodic curve and its flexible rhythm (rubato).
Section B: Offers a contrast, often by modulating towards a new tonal region, or by presenting more ornamented melodic material , but always in the same dreamy character .
Section A’: Return and recapitulation of the main motif, often varied or embellished (coda) before fading away gently.
Repetitions : The motifs are often repeated with slight harmonic variations or ornamentation, creating an impression of contemplation and looping.
4. Harmony, Scale and Key
Harmony and tonality are the most innovative and characteristic aspects of the work .
Key : The main key is generally identified as G-flat major, but it is very fluctuating and ambiguous . Debussy constantly modulates and uses chords without a clear tonal function, blurring the perception of the tonal center.
Harmony :
ninth and eleventh chords , often in root position, which gives them a character of pure color rather than functional tension.
Parallelism : Parallel movements of chords or octaves are frequent, which is a break with the classical rule prohibiting parallel fifths and octaves , and contributes to the floating effect.
Scales and Modes: Debussy employs chromatic enrichment and musical modes (for example, the Lydian or Mixolydian mode) rather than the simple major or minor diatonic scale. The use of whole-tone scales is less evident here than in other works.
5. Rhythm
Meter and Pulsation: The basic meter is the $\frac{3}{4}$ of the waltz, with a regular ternary rhythm as the reference point .
The Art of Rubato: The rhythm is defined by Molto rubato con morbidezza (Very gently rubato). This means that time is constantly stretched and contracted. The rhythm should never be mechanical, but always supple and expressive, giving the piece its character of extreme slowness , almost frozen .
The analysis of La plus que lente reveals a piece where the waltz form is a pretext for a subtle exploration of timbres, floating harmonies and a freely suspended rhythm.
Tutorial, interpretation tips and important gameplay points
🎹 Interpretation Tips: The more than slow
1. Technical Preparation: The Art of Flexibility
The biggest technical challenge is not speed, but sound control and rhythmic flexibility.
Touch (The Floating Sound):
Arm Weight: Use the weight of your arm rather than the strength of your fingers to obtain a soft, deep sound (morbidezza). Avoid percussive playing.
Chords: Chords should never be “hammered “. Practice them in very light staccato to feel the relaxation, then in legato to link them together like clouds of sound .
The Accompaniment (The Discreet Pulse ) :
The left hand must maintain the waltz pulse in 3/4 time (Bass – Chord – Chord), but with extreme delicacy . The bass note of the first beat should be felt, but never loud. The other two beats should be almost imperceptible, acting like a slight sway.
2. Interpretation Tips: Rubato and the Pedal
The success of the interpretation depends on a subtle management of time and resonance .
The Molto Rubato:
Melodic Breathing: Rubato (rhythmic freedom) is essential. Think of it like natural breathing: stretch out the beat on important notes or phrases, then subtly catch up . Never play mechanically.
very title (The More Than Slow) gives you permission to be very slow . Take your time, especially during ornaments and melodic ascents, to allow the sound to unfold .
The Pedal (Floating Harmony):
The sustain pedal is crucial. It must be changed often enough to avoid harmonic muddiness, but held long enough to link the chords and create the typical Debussy sonic veil.
Use the half-pedal or the resonance pedal (a pedal that does not change completely , but is slightly lifted and then put back down) in more chromatic passages to maintain some clarity while keeping the richness of sound.
3. Key Points of the Analysis (What You Need to Understand)
To play well, you need to know what you want to express:
The Character : Adopt an atmosphere of elegant reverie and gentle nostalgia . The room should whisper rather than shout.
Octave Lines: Passages where the melody is played in parallel octaves require precise control so that the two notes sound as a single pure line and not as two different strokes .
Contrasts: Identify the rare dynamic changes (often from pp to mp or p). Even the occasional forte (if it exists in your edition) should remain impressionistic and never become abrupt. It is an intimate forte, not an orchestral one.
In Brief for the Study
Detach the Rhythm: Practice the melody alone with a very free rhythm to find its “breathing points”.
Lightness of the Left Hand: Practice the left hand alone, concentrating on the lightness and regularity of the waltz swing.
The Fusion: Bring both hands together, focusing on sound quality rather than speed. Let the pedal transform everything into a homogeneous sonic mass .
Episodes and anecdotes
🎭 Anecdotes and Stories about “The More Than Slow One”
1. The Delicate Mockery of the Title
The main anecdote lies in the title itself : “The more than slow one ” .
Context: At the beginning of the 20th century , the slow waltz was the quintessential dance and salon music. It was a genre often considered a little too sentimental or bland in the eyes of a composer as refined as Debussy.
The Irony: By naming his piece La plus que lente (The Most Slow), Debussy wasn’t really aiming to create the world’s slowest waltz, but rather to subtly mock the overuse of the adjective “slow” in this musical genre. It’s a kind of musical joke: “Since you like slow, I’ll give you the ultimate in slowness!” The tempo marking Molto rubato (Very free ) reinforces this idea, as time is stretched and distorted to excess .
2. The Mystery of the Cymbalum
One of the most famous anecdotes concerns the orchestral version of 1912.
Unexpected Instrument : When Debussy orchestrated the work, he added a very unexpected instrument for French salon music : the cymbalum (or cimbalom), a struck string instrument , typical of Eastern European music (Hungary, Romania).
The Explanation: Why this choice? Rumor has it that Debussy heard a Gypsy orchestra play the piece , or at least a similar waltz, perhaps in a grand Parisian café or hotel of the time. He supposedly appreciated the sound and the touch of exoticism brought by this instrument so much that he expressly incorporated it into his own orchestral score, giving it a unique character and a singular sonic patina .
Leoni ‘s Waltz
Although there is no absolute proof, a story circulates about the origin of the recipient or the inspiration for the work.
The Violinist of the Carlton Hotel : It is possible that Debussy wrote the piece for Léoni, a solo violinist who played regularly at the Carlton Hotel in Paris , a chic place where precisely this type of entertainment music was played .
The Famous Tribute : This anecdote suggests that Debussy accepted salon music, provided it was treated with his own artistic refinement. He would take a waltz commission and transform it into an impressionist work of art.
4. The First Famous Publication
The Figaro Review: The work enjoyed immediate success and very rapid dissemination . Part of this popularity is due to the fact that the score was published not only by the publisher Durand, but also as a supplement in an issue of the popular newspaper Le Figaro. This wide distribution allowed the waltz to quickly find its place in repertoires and salons.
These stories confirm that La plus que lente was not just a serious piece of music; it was also a sophisticated entertainment work , rooted in Parisian life during the Belle Époque.
Similar compositions
1. Works by Debussy himself ( Same Atmosphere )
These pieces exhibit a similar lyricism, rich harmony, and an intimate character on the piano :
Romantic Waltz (1890): A youthful waltz, less impressionistic, but which already shows Debussy ‘s interest in the waltz form treated with elegance .
The girl with flaxen hair (Preludes , Book I, No. 8 ): Shares the same delicacy , the same simple melody and the suspended and dreamy atmosphere .
Clair de Lune (Suite Bergamasque): Undoubtedly the closest piece in terms of popularity and atmospheric character , with a subtle rhythmic pulse beneath an evocative melody .
French Impressionist and Contemporary Composers
These composers often shared Debussy’s taste for reinventing dance forms and evoking atmospheres.
Maurice Ravel:
Noble and Sentimental Waltzes (1911): Ravel, a contemporary of Debussy, also reinvented the waltz in a sophisticated and ironic way, seeking nobility and sentiment under the guise of ballroom dancing.
Pavane for a Dead Princess (1899): Shares the same character of solemn slowness and delicate melancholy .
Erik Satie:
Gymnopédies (1888): Although not waltzes, they share the atmosphere of a disarming slowness and simplicity , with modal harmonies and a pure rhythm that distance them from Romanticism.
Gabriel Fauré :
Nocturnes: Some of his piano pieces explore a lyrical melancholy and rich harmony reminiscent of the intimacy of La plus que lente.
3. Post – Romantic Lyrical Pieces
These works lie at the border of Romanticism and Impressionism, often adopting a dreamlike atmosphere.
Alexander Scriabin:
Preludes ( Op . 11, for example): Although he has a more tense harmony, Scriabin shares with Debussy the exploration of ethereal and dreamy sound worlds in short pieces for piano .
(The writing of this article was assisted and carried out by Gemini, a Google Large Language Model (LLM). And it is only a reference document for discovering music that you do not yet know. The content of this article is not guaranteed to be completely accurate. Please verify the information with reliable sources.)