Debussy 1903 Flashcards

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1
Q

Context

A

20th century was a period of experimentation, excitement and exploration.
Cage and Saariaho, Aleatoric music
Stravinsky, Nationalistic music

Earlier, Impressionist music, emphasis on creating a hazy atmosphere
Paris World Exhibition 1889, Javanese gamelan ensemble
Grenada was the last seat in Spain of the Islamic emirs and has many reminders of its Moorish past

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2
Q

Melody

A
Short melodic ideas with pentatonicism
Some are not pentatonic
Use of the whole tone scale
Moorish lament
Spanish influences
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3
Q

Short melodic ideas with pentatonicism

A

P, 2 bar pentatonic phrase, developed with addition of 7b and triplets, emulate Javanese Gamelan Slendro (Just after, La Mer, Debussy, pentatonic scale)

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4
Q

Some are not pentatonic

A

P, non pentatonic counter melody, fusion of western and gamelan
LS, 4th theme, major mode with descent in A maj, fusion of western and spanish

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5
Q

Use of the whole tone scale

A

P, LS no note stands out, scalic whole tone idea, lengthy descent, create hazy Impressionistic mood
(After, Voiles, Debussy, entirely of 1 whole tone scale)

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6
Q

Moorish lament

A

LS, 2 bar phrases with min2, aug2, reminiscent of an evening in Grenada

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7
Q

Spanish influences

A

LS, 2nd theme is very chordal with spread chord at the end, similar to a guitar strum
(Same, String quartet, Ravel, 2 bar theme in pizz)

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8
Q

Harmony

A
Non functional, no cadences
Pentatonic harmonization 
Extended, added chords with slow harmonic rhythm
Pedal points
Parallel chords
False relations
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9
Q

Pentatonic harmonisation

A

P, Begining, perfect 5ths, gonglike, resonant

Just after, Lune, Debussy, produced bell like sounds my using 2nds

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10
Q

Extended, added chords with slow harmonic rhythm

A

P, beginning, low pitched open 5ths with added 7ths
(After, Concerto for 2 pianos and orchestra, Poulenc, extended chords, characteristic of Impressionism)
Create a hazy atmosphere, characteristic of Impressionism, avoid straightforward triads, recreate gamelan harmonies

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11
Q

Pedal points

A

LS, beginning, open 5th C#, inverted at b5 (After, Prelude, Debussy, for 30 measures, uses them more than other Western composers) Produce a resonant, hazy sound, characteristic of Impressionism

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12
Q

Parallel chords

A

LSDG, parallel 7ths

(Before, Sirenes, Debussy, parallel minor 9th between pizz strings, wind) Characteristic of Debussy

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13
Q

False relations

A

LSDG, b52, E natural in LH, E# in RH, Obscure tonality, create hazy, misty mood

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14
Q

Texture

A
Varied use of texture in both pieces
Layered 3 part homophony
Homophony
2 part counterpoint
Brief imitation
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15
Q

Layered 3 part homophony

A

P, Gong like drone, moderately moving countermelody, fast moving main theme on top, reminiscent of gamelan ensemble,
(Just after, La Mer, 1st mv, Debussy, layered in a similar way)

LS, Start with a habanera rhythm and octave pedal, then the theme, build an atmosphere which is reminiscent of Spain

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16
Q

Homophony

A

LS, melody in octaves, develops the small melodic fragments

After, Poulenc, concerto for 2 pianos, orchestra

17
Q

2 part counterpoint

A

P, in octaves, develop small melodic fragments

18
Q

Brief imitation

A

P, tourjours anime, in contrary motion, develop small melodic fragments

19
Q

Tonality

A

Use of tonal centers instead of clear maj/min keys
Whole tone melody weekend tonal argument
Modes

20
Q

Use of tonal centers instead of clear maj/min keys

A

P, 5#=Bmaj or G#min, however B is merely a tonal center, Javanese music does not use Western key systems
(Before, Satie, Gnossienes, tonal centers)

LS, pedals give tonal center, C#, F#, A, hazy impression

21
Q

Whole tone melody weakens tonal argument

A

In both pieces, ambiguous tonality, hazy atmosphere

Just after, La Mer, Debussy, uses whole tone, pentatonism and chromaticism, making the tonality ambiguous

22
Q

Use of modes

A

LS, interruptions in triple time in C Mixolydian and A Mixolydian, weakens the tonal argument, hazy mood
(Same, String quartet, Ravel, theme in Aeolian mode)

23
Q

Sonority

A
Extensive piano range
Sus pedal
Una corda
Cross hands
Piano performance techniques
Predominantly quiet dynamics
24
Q

Extensive piano range

A

Both use almost full range of piano used to develop short melodies
P, lowest B, highest A# (After, Poulenc, concerto for 2 pianos and orchestra, sim range)
LSDG, lowest C#, highest C#

25
Q

Sus pedal

A

P, Washes of sound
(After, La Puerto del vino, Debussy, gong like sounds in bass)
Produce a hazy atmosphere, obscure metre, similar to the resonant gongs, gamelan uses hammers, make the piano sound like it does not have hammers

LS, Used during lointain markings, distant and hazy

26
Q

Una corda

A

P, contributes to characteristic timbre, creates a softer, muffled sound
(Before, Gymnopedie No 2, large amount marked for una corda)

27
Q

Cross hands

A

P, LS, to cover the entire range of the piano

28
Q

Piano performance techniques

A

LS, spread chords (Same, String quartet, mv 2, Ravel, guitar like pizz) similar to the Spanish guitar
LS, Staccato articulation on habanera rhythm,

29
Q

Predominantly quiet dynamics

A

P, Get louder as the number of parts increase, like in gamelan ensembles

LS, Predominantly quiet, especially during lointain sections, hazy, creates a sense of distance

30
Q

Tempo, rhythm and metre

A

Frequent tempo changes
Gamelan-like rhythms
Spanish influenced rhythms
Contrasting metre changes

31
Q

Frequent tempo changes

A

P, Moderement anime, with frequent rit sections, speeds vary within a gamelan performance
(Just after, La Mer, Debussy, very frequent tempo markings ranging from tres lent to assez anime)

LS, frequent changes from rubato, retenu, tempo guisto, very fluid, like improvisation that is important in flamenco styles

32
Q

Gamelan like rhythms

A

P, Long gong sounds in bass, tied notes over bar lines, emulates low gamelan gongs
P, LS, Syncopation, triplets, quintuplets
(Just after, La Mer, Debussy, frequent triplets in the 2nd mv, 1st vln)

Cross rhythms (Same, String quartet, mv 2, Ravel cross rhythms in the feel of 3/4 against quavers in 6/8), all to obscure the metre, make it hazy and unclear

33
Q

Spanish influenced rhythms

A

LS, habanera rhythm used throughout

(After, La Puerto del vino, Debussy, habanera style accompaniment) spanish inflections, characteristic fo Impressionism

34
Q

Metre changes for contrast

A

P, 4/4, 2 bars of 2/4
(Same, String quartet, mv 2, Ravel cross rhythms in the feel of 3/4 against quavers in 6/8)

LSDG, 2/4 switch to 3/4 unexpectedly, 2/4 used in Habaneras, 3/4 for contrast (Before, Bizet’s Carmen, Habanera)

35
Q

Structure

A

P, Ternary with coda

LS, sectionalized loosely by melody

36
Q

P, Ternary with coda

A

(After, Concerto for 2 pianos and orchestra, Poulenc, Ternary 1st and 3rd mv), to bring the piece together

37
Q

LS, sectionalized loosely by melody

A

(Same, String Quartet, 2nd mv, Ravel. similar structure)

Aims to create an impression of an evening in Grenada