AOS 5 Estampes

Question 1

Describe how Pagodes is a fusion

Answer 1

Fused with ‘Javanese Gamelan’;
Lots of Gong-like open-fifths;
Added notes avoid straightforward triads and recreate Gamelan harmonies, such as the added G# in bar one;
Use of pentatonic scales (slendro). Ostinato theme only uses four different notes;
Speed changes throughout, as would be done in gamelan music

Question 2

Describe the loose structure of Pagodes

Answer 2

Loose ternary form -

Main section, B section, Main section varied

Question 3

Describe the music in the first section of Pagodes (bars 1-32)

Answer 3

Two bar intro with cross hands playing semi-syncopated gong like phrase with open fifths and added note harmonies;
Gong continues as a pedal with a low G#;
Five sharp key signature is used, but neither B or G# is established, but B almost acts as a tonal centre;
Four-note ostinato is heard, and repeated with added flat seventh in the melody, and then a scalic countermelody is played as well;
A pentatonic idea is heard whilst the ostinato idea is heard in the RH;
A bridge-like passage is then heard with the LH playing triplets, almost trill like whilst the RH plays an oriental style melody with cross-rhythms;
The music speeds up slightly with the triplets in octaves with bass gradually descending;
The two hands explore versions of the four-note idea in contrary motion;
A sustaining pedal is then heard whilst open fourths are heard over the top and harmonies from the beginning are reproduced.

Question 4

Describe the music in the second section of Pagodes (bars 33-52)

Answer 4

An off-beat two note chord is played, with a whole tonal like melody being played in the LH;
Many elements from the first section is often heard, and the music builds to a climax, with a gong like low note heard at the very bottom;
Whole tone melody returns, this time in the left hand, with trills heard above it, and the tempo slows.

Question 5

Describe the music in the third section of Pagodes (bars 53-end)

Answer 5

The opening theme returns (without introduction);
A new rippling ostinato figure is heard in demisemiquavers at a high tessitura in the RH, which accompanies the tune in the LH;
The dynamics at the end completely die away with ‘as quiet as possible’ and let ring.

Question 6

Describe the use of the habanera in La soirée dans Grenade

Answer 6

Piece is to be played at ‘movement de Habanera’;
Often heard throughout the whole piece in one form or another;
Staccato is an essential characteristic of the style and is found often when its used.

Question 7

Describe the use of guitar sounds in La soirée dans Grenade

Answer 7

Rapid staccato spread chords of the flamenco guitar can be heard throughout, and the use of fast chords is like a continuous strum on a note.

Question 8

Describe the use of the Moorish Song in La soirée dans Grenade

Answer 8

The melody first heard is like a Moorish lament, and it starts with extreme dissonance with the false relation, and has the use of the distinctive augmented second of flamenco music.

Question 9

Describe how La soirée dans Grenade is a typical piece in Debussy’s style

Answer 9

Lots of parallel chords;
Added note chords and chords based on fourths and fifths;
Frequent tempo changes;
Whole tone scale;
Cross-hand technique;
Clear tonal character, even with dissonance chords built on fourths and fifths

Question 10

Describe the music in the first section of La soirée dans Grenade (bars 1-37)

Answer 10

Begins with an introduction to the habanera rhythm, and uses extreme ranges;
Moorish lament then begins, which is made to sound in free time;
A new parallel seventh chord idea starts, and each two bar phrase ends with a staccato spread chord, all with a C# pedal throughout;
Two bars of Habanera rhythm is heard, before a whole tonal idea is heard, sounding over a repeated C# habanera rhythm, and the LH is in treble clef, so everything sounds higher;
A transposed parallel seventh chord idea is heard, and has a new extension with syncopation and triplets.