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A-level Music: Edexcel > Debussy, Estampes > Flashcards

Debussy, Estampes Flashcards

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1
Q

Estampes meaning
What style of composer was Debussy?

A

Prints (pictures, paintings)
Impressionist (new) as didn’t like the norm
French, keen to break away from German romantic song (something diff as all the same)

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2
Q

Padoges meaning
How is a padoges represented?

A

East Asian house
Image in first 2 bars: bass = stable, higher = unstable

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3
Q

What is Javanese gamelan?
Affect on ‘padoges’

A

“To hit with a hammer”
Series of percussion instruments

Plodding, dissonant sound throughout
Rubato / improv = free feeling, little sense of pulse

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4
Q

Idea that runs throughout ‘Padoges’

A

Triplet oscillation

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5
Q

Use of piano
‘Padoges’

A

Large sonority: uses range to max

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6
Q

Gamelan elements in ‘Padoges’ structure

A

Gong like (5ths) opening = gamelan spiritual leader, gong always on 8th beat but, here on 1st

Bar 10 gong pedal replaced with G#, remains to end = one tone running throughout

Short 2 bar interval = sets oriental scene

Bar 15 cross rhythms with LH triplets against RH 2 quavers, reappears throughout = element, virtuosic

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7
Q

Form/texture of ‘Padoges’

A

Loose ternary form (ABA)

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8
Q

Tone of ‘Padoges’

A

Suggested Bmaj / G#min (relative)
Bass G# suggests G#min
Neither established

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9
Q

Triads
Effect
Describe the harmony
‘Padoges’

A

Avoids straightforward triads
Lots added notes
Harmonically ambiguous

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10
Q

How are the gongs in the intro played? ‘Padoges’

A

Cross hands: 2nd chord m.d. = RH, 3rd chord m.g. = LH

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11
Q

Rhythms of ‘Padoges’ (3)

A

Bar 31: becomes syncopated (offbeat)
From bar 33: swaying up, down theme develops
Bar 78:
Accomp in RH = rippling hemi-demi-semi quavers, high tessitura
Melody in LH = inverted

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12
Q

Last section range
Ending dynamics
‘Padoges’

A

Bottom octave B

Bar 97: ‘aussigne possible’ = always as quiet as possible
End bar 98: ‘laissez vibrer’ = let sound evaporate

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13
Q

Dynamics throughout
Bar 39
Bar 69 volume
Climax volume, when
How is a sparodic section of dynamics created?
What dynamics aren’t used?
‘Padoges’

A

Rarely above p (quest allows to hear vibration)
A few crec and dim
P
Ff (climax) bar 73
3 staves ff, bar later p, quest to end aft
No metzo: gamelan element

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14
Q

How is the texture thickened?
(Allowed as verb bit noun)
Movement of texture
Imitative meaning
‘Padoges’

A

Lots octave doubling
Lots contrary motion
Ideas passed around, used over + over

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15
Q

Melody element
How is there parallel motion?
‘Padoges’

A

Ostinatosi throughout
Lots parallel 4ths (played going up + down)

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16
Q

Scales used
‘Padoges’

A

It’s pentatonic
Whole tone scale: inspired by Revel, weird, WL = VW
Slender scale: gamelan element
I II IV VI I
C D F A C = not normal

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17
Q

How is there’s big displacement of the beat?
Caused by?
‘Padoges’

A

Ideas come back, but on diff beats of the bar
Partly by syncopation

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18
Q

Chords of ‘Padoges’

A

Added chords

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19
Q

4th and 5ths are what?
‘Padoges’

A

Weird
Rare in harmony
Statement
Non conventional

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20
Q

La soirée dans Grenadè meaning
Inspiration of No.2

A

An evening in Grenada
Grenada (Spain) visit

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21
Q

Flamenco influence in No.2

A

Habanera rhythm throughout
Dotted quaver, semi-quaver, quaver, quaver
Rhythm originally a Cuban dance

Sound of flamenco guitar: bar 109, 115 interjection

22
Q

How is No.2 expressive + from a far (‘eg lointain’)?

A

Moorish lament with augmented 2nd: B# -> A
Comes round again + again, south Spain element

23
Q

Form
No.2

A

Loose ternary form (ABA)

24
Q

Range of No.2
Use of pedal

A

6 octave, uses most of piano, virtuosic
Full use of sus + dampen

25
Q

Texture form bar 15
3 part texture at bar 51
Bar 19-106
No.2

A

Hetrophonic: 2 melodies at once, one more intricate

Melody moves to middle
Habanera in bass
Chords in top

Octave melody returns in middle
Pedal E bottom
Habanera in block chords on top

26
Q

How is guitar made to sound flamenco like?
When?
No.2

A

Arpeggiated block chords like a strum
Bar 17, 20
Bar 29 = 4th higher

27
Q

How is the melody close?
What is also close?
No.2

A

Conjunct
Harmony

28
Q

What returns bar 61? (Has appeared before)
No.2

A

Up + down by 3rds

29
Q

Scotch snap
No.2

A

Aka lumbaric rhythm
Dotted rhythm replaced
Also displacement in No.1 too
WL = Scottish fantasies by Bruch
Returns:
bar 69
bar 115-6
bar 119 syncopated

30
Q

When does the main melody start in bar 41?
Describe
For how long?
No.2

A

Last 1/2 beat Of 41
Triumphant, parallel octaves, falling parallel melody
10 bars

31
Q

When is there a false relation?
How?
What does this show?
What did this contrast with
No.2

A

Bar 51 (same time as when melody moves to middle of 3 part texture)
C# and C natural
Shows piece coming to end
Moorish lament

32
Q

Avec plus d’as andon meaning
When?
No.2

A

With more abandon, show off + rubato
Bar 67

33
Q

Bar 128-9
No.2

A

Recap of flamenco melody elements

34
Q

En allant se perdant meaning
When
No.2

A

Small dream/memory
Small recaps = the small memory
Diatonic
Very functional

Bar 130

35
Q

How is No.2 Ronald ambiguous?

A

C# maj or F# min
Opening suggests F# min but no determiner

36
Q

When is the pedal note used?
What acts as the pedal in bar 23?
How is a suspended chord created in the pedal, when?

A

Always
Bar 17: C# which slightly confirms C# key
But…
Bar 29: F#, ‘are we in C# or F#?’
Bar 59: reprise of C# (inverted pedal)
Bar 98: dominant on E when in A maj

Habanera rhythm as tied

Bar 38: pedal C# + F#, open 5th with 4th on top (no 3rd)

37
Q

When does the habanera rhythm start?

A

Bar 1, no real intro

38
Q

When is No.2 harmonically parallel?
Meaning
Tempo at that time

A

Bar 17
Moving equally
Tempo gusto

39
Q

How is the bass harmonically ambiguous?
When?
Adds to what?
No.2

A

Repeating 5ths
Bar 16
Uncertainty

40
Q

When is the whole tone scale used?
No.2

A

Bar 23

41
Q

What key is hinted later on they isn’t C# maj or F# min?
No.2

A

A maj (more regular key)

42
Q

How does No.2 have no conventional harmony?
When?
WL

A

Lots open 5ths (not 3rds)
1st, 5th, octave above, 4th
From bar 38
VW

43
Q

Why are there few accidentals?
When from?
No.2

A

Mainly diatonic
Bar 56-60

44
Q

Who is No.2 atmospheric bars 78 + 82?

A

Dense parallel chord movement in pp

45
Q

What mode is an interjection in?
Léger et lointain meaning
How is the second interjection diff?
No.2

A

Mixolydian: Bflat = flattened 7th
From a far, light
Harmonic parallelism

Major 6th higher: shows development
Still has parallel chord movement

46
Q

What chord does No.2 end in?
Why is it unstable?

A

A major
1st inversion

47
Q

When is 3 part melody first implied?
Why?
How long is it established for?
When does it return?
When is it properly established?
No.2

A

Beginning
Bc of pedal
3 bars
Bars 41-52, 67 onwards
Bar 96

48
Q

Rhythms throughout
No.2

A

Syncopation
Triplets

49
Q

Texture of No.2
When is texture most dense?
Texture bars 90-91
When does the homophonic texture return?
Describe towards end

A

Constantly changing
Mosley homophonic

Bar 78
Monophonic
Bar 109
More simple: 3pt texture has less going in

50
Q

What is the 3 part texture reminiscent of?

A

Organ textures (2 hands and feet)

51
Q

What does the structure have that makes it strong?
How?
No.2

A

Strong harmonic base
Built in 4ths and 5ths

52
Q

Bar 130: how is the playing of the pedal diff?

A

End gives specific playing instructions compared to more free throughout

A-level Music: Edexcel (38 decks)

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