Debussy - Aos5: Fusions Flashcards

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1
Q

What is Pan-diatonicism?

A

When a composer will create unusual chords in a piece by freely adding random notes from anywhere in the scale to a chord, regardless of dissonance.

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2
Q

What are two harmonic scales that Debussy often uses?

A

The whole tone scale and the pentatonic scale.m

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3
Q

What are 4 harmonic techniques typical of Debussy’s style?

A

+ Non- functional harmony
+ Pan-diatonicism
+Alternation between the relative major and minor of a piece
+ Pedal use

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4
Q

Name two piano techniques that one may have to use in order to accommodate the wide tessitura used in Debussy’s music?

A

The player will often have to cross hands when playing Debussy’s music, and use different hands/unexpected fingerings to reach all the required notes. The pedal, though usually a harmonic/structural element, it can be used to create a “Three Part Texture”, where there appears to be the part of a high right hand, middle-ish melody part and a bass part (often pedal), all played by two hands.

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5
Q

How is the short, two bar melody at the beginning of “Pagodes” remeniscent of the romantic era?

A

It shows features of brevity which were very anachronistic to the time, as classical pieces often were deliberately long and had extended, drawn out phrasing, whereas Debussy oten used short repeating phrasing.

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6
Q

What is a chordal piano technique that Debussy often features in his music?

A

Parallel chords. These are chords where the pattern you are playing (the fingering and intervals between the notes) does not change, but the pitch and actual notes change by moving parallel up or own the piano.

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7
Q

What other style of music influenced Debussy’s “Pagodes”?

A

Javanese Gamelan music. This meant he had to incorporate several idiosyncratic and oriental styles.

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8
Q

What three ways does Pagodes reflect Javanese Gamelan music through harmony?

A

Heavy use of the pentatonic scale (emulates the Javanese slendro scale), extended chords - created using pan diatonicism- used to emulate the complex harmonies in gamelan music and gong like open fifth intervals played emphatically in the piano, to emulate a gong sound.

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9
Q

How does the harmony used in “Pagodes” reflect that of the classical style?

A

Though debussy uses extended and unusual variations, he often relies heavily on the tonic and dominant chords, which is often seen in classical piano music.

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10
Q

What is one structural evaluation of PAgodes?

A

It is in ternary form. This involves a musical melody or idea being established in the first section, the second section contrasting this with new ideas, and the third section returning to the ideas in the first section in a related key.

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11
Q

Why is bar 11 unusual and seemingly separate to the rest of Pagodes?

A

It triggers the narrowing of the tessitura, as well as introducing the relative minor key. It also only features the note with G# in octaves (and one b that we ignore).

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12
Q

In what bar does the melody of Pagodes feature the whole tone scale?

A

Bar 33

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13
Q

In what bar, in Pagodes, does the melody return to the “A” section?

A

bar 53

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14
Q

How does Debussy use Tessitura towards the end of Pagodes? How is this typical of romantic piano music?

A

The tessitura towards the end is ridiculously wide. Running up to the final bar, the tessitura is quite wide, using fast running quaver ostinatos. The final chord is marked to “let ring”, and uses nearly the entire range of the piano. This shows how romantic music incorporated a larger range in the piano after the piano’s new model during the romantic period.

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15
Q

What is a rhythmic feature debussy frequently uses in his style?

A

Cross rhythms, such as triplets over quavers or minims.

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16
Q

How does debussy link section a and section b in Pagodes?

A

Using dissonant minor second chords and ritardando.

17
Q

What is one example of how dynamics that are typical of the romantic era are used in debussy’s work?

A

His use if dynamics at the end of the piece , with the markings “encore plus pp (still more pianissimo) signifying that the music grow very quiet, and the marking for “as quiet as possible” used for the final low sustained b note of the piece.

18
Q

What type of alternate influence is used in “La Soiree dans Grenade”?

A

Cuban Dance Music (specifically habanera)

19
Q

What is habanera?

A

A type of cuban dance, heard in Carmen. It has a distinctive melody:
dotted quaver, semiquaver, quaver, quaver, dotted quaver, semiquaver, quaver, quaver.

20
Q

How does the metre of La soiree dans grenade emulate cuban music?

A

The song is in simple duple time which is typical of son form.

21
Q

how, in bar 17 of la soiree dans grenade, does Debussy use playing techniques to make the piano resemble other instruments?

A

Debussy uses spread chords, that sound similar to that of a guitar, due to the note pattern and strumming.

22
Q

How does Debussy use the pedal to incorporate both cuban and romantic piano music?

A

The pedal is a classic use of romantic piano music, but Debussy plays the pedal in a habanera rhythm, which helps demonstrate cuban influence.

23
Q

What happens in bars 109-110 of la soiree dans grenade?

A

There is a starkly contrasting, unique section, where the tempo doubles and the duple metre moves to 3/4 time, with many accidentals dissonance. This section sounds a bit like a flamenco dance, and adds to the narrative imagery of walking through grenada.

24
Q

How do you categorize the melody at bar 7 of “La soiree dans Grenade”?

A

A moorish Lament

25
Q

What is a moorish Lament and how does this relate to La soiree dans Grenade?

A

A moorish lament is a musical piece, with the purpose of mourning or lamenting a lost person/thing. The melody in bar 7 emulates a moorish lament. This relates to the cuban influence, as cuban music is often a mixture of african and european style music, and moorish laments were of north african origin.

26
Q

How does Debussy use harmony to create a satisfying end to “La Soiree dans Grenade”?

A

The final passage (the moorish lament melody) is all focused on the dominant (C#), so that the final F#9 chord forms a perfect cadence.

27
Q

How does Debussy use melody to add a continuous, cyclical feel?

A

The final section involves a variation on the moorish lament melody from bar 7. Also, the habanera rhythm is played high and piano, rowing more quiet and distant, right at the end of the piece. This sounds like walking away, which relates to the “walking the streets of Grenade narrative”.