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Music? > Estampes No. 1 Pagodes > Flashcards

Estampes No. 1 Pagodes Flashcards

Debussy

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1
Q

Debussy desires to push the boundaries of length, harmony, sonority. This indicates his…(era)

A

moving away from the late romantic period

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2
Q

Structure

A

Ternary

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3
Q

Tempo Marking

A

Moderately animated

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4
Q

Melody (scale and influence)

A

Pentatonic

Balongan style, Java.
Melodies become ostinatos and are predominantly constructed by min 3rds, maj 2nds, perfect 4ths.

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5
Q

There is a … (sonority -> piano technique)

+ AO4

A

tre chord (sustained chord)

Swirling feel, reverberating chords

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6
Q

Debussy avoids (chords)

A

Dominant and tonic chords

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7
Q

Fusion of…

A

Indonesian gamelan with Eastern music

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8
Q

The second chord heard (LH) is called a…

A

diyad

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9
Q

What playing technique is there apart from the tre chord

A

Hand crossing

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10
Q

Rhythm in beginning (+ explanation/effect)

A

Syncopated quaver idea (features major 2nd)

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11
Q

The 1st chord is of a… (interval)

+ AO4

A

Perfect 5th

Part of the gong’s harmonic series, also because of its low tessitura.

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12
Q

The tonal centre at the beginning…

A

B

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13
Q

Texture in general

A

Layering of different rhythmic and melodic motifs
Kaleidoscopic, stratified.

3 part writing

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14
Q

When does the upper melody come in (beginning in terms of rhythm)

+AO4

A

After a quaver rest.

Weaker beat -> masks the pulse

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15
Q

Melody 1 idea (beginning) describe notes used

+AO4

A

4 pitches (TETRATONIC MELODY)

Gamelan influence

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16
Q

In b.4 what happens to the upper register in terms of melody

+AO4

A

Same 3 notes are rising in pitch. (octaves)

Resonate more

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17
Q

Wider listening

A

Ravel: “Jeux d’eau”

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18
Q

What happens in b.5 tempo marking

A

a tempo

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19
Q

Harmony in general

A

Flattened 7ths
Pentatonic scale
Blending and blurring Eastern music with Indonesian
Brief hexatonic moments (b. 6)

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20
Q

In b. 7 we are introduced to a…(texture/melody) composed of…

A

Scalic countermelody in the upper LH part.

5 pitches, no semitones -> AMBIGUOUS. Could be dorian, aeolian or tonal…

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21
Q

The staccato is used in the … register to mimic…

A

Upper

Mallet hammers

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22
Q

Tenuto is used in the … register to….

A

Lower

Add weight and resonance

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23
Q

In b. 11, the extremely low gong-like note is a…

A

G#

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24
Q

b. 11 we start to get…(rhythm, compare to other bar)

A

rhythmic variation of the same pitches heard in b. 3

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25
Q

b. 11 the melody is now in…

A

Octaves (wider range)

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26
Q

b. 13 we get a new motif. It can be identified by…

A

its recognisable triplets in the upper floating melody

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27
Q

What is caused in b. 13 due to the triplets at the top

A

Cross rhythms

28
Q

b. 13 is a rhythmic variation of…

A

the same melodic cell 1st heard in b. 11

29
Q

When the pedal lifts at the end of b. 14 what effect is caused

A

Damper sound, harsh

30
Q

Debussy is clearly composing in…in order to create his ternary form

A

Units

31
Q

In b. 15, the triplets are moved to…
(Wider listening)

A

the LH

Debussy: Reverie

32
Q

The 2nd chord of b. 15 is..

A

1/2 diminished

33
Q

b. 15 onwards, all the chords are…

+AO4

A

chromatic

Western harmonisation alongside Eastern harmony (Vertical meeting of cultures)

34
Q

Triplets are used to…

A

Drive the piece forward

35
Q

The chromatic infused harmony is used to reflect…

A

the complex overtones heard in Gamelan music

36
Q

What is the tempo marking in b. 19

A

Animez un peu

Meaning: A little more lively

37
Q

What happens in b. 19 in terms of the triplet ostinato heard in the previous bars

(Also, mention what returns)

A

Now doubled in the voices, with the pentatonic tune in octaves above

38
Q

In b. 21, what is replicated

A

The 3 pitched sonority from the opening bars

39
Q

Tempo

A

4
4

40
Q

What occurs in the lowest register (beneath the doubled triplet ostinato and the pentatonic tune returning in octaves above)

+ Describe the harmonic rhythm in this section

A

Descends

Slow harmonic bass

41
Q

What is the tempo marking in b. 23 after the return of the 3 pitched melody from the beginning

A

Toujours anime

Meaning: Always animated

42
Q

What happens melody wise in b. 23

A

Contrary motion

Free pattern in the lower parts

43
Q

B. 25 (rhythm)

A

Cross rhythms

44
Q

b. 27 (harmony)

A

Parallel 4ths and 5ths
Tetratonic collection (4 pitches)

45
Q

Last 2 bars of section A can be identified by…

A

the off beat major 2nd idea -> Portato

46
Q

Section B, b. 33 (texture)

A

Reduced

47
Q

What happens in the LH in Section B (rhythm and melody)

A

Off beat major 2nd dyads

48
Q

b. 37 (Section B), melody

A

Varied version of the melody in the LH from the melody in b. 11

49
Q

What is the new ostinato based upon?

A

b. 3 but now with diminution

50
Q

b. 40 we are reaching the climax because there is a REALLY low note playing. What note is it and why is it significant?

A

D#

Gong-like

51
Q

Texture in b. 41

A

Homophonic and homorhythmic

52
Q

Harmony in b. 41

A

Parallel
2 octaves apart (LH and RH)

53
Q

The range in b. 41 is of…

In this precise moment, the lowest note is a…and is punctuated to…(AO4)

A

5 octaves

C#
Exploit the piano

54
Q

b. 45 (texture)

A

2 part texture

55
Q

b. 46 joining the 2 part texture…(melody)

A

Pentatonic melody returns in LH

56
Q

The accompaniment (RH) in b. 50…(ornament)

A

dissolves into trills

57
Q

What tempo marking is seen before we reach Section A´

+AO4

A

Retenu
Meaning: Holding back

Gamelan music often slows down at the end of a section before the gongageng announces the arrival of the next rhythmic cycle.

58
Q

Texture in b. 72 and dynamics

A

Homophonic

ff

59
Q

Debussy reuses the same melody from b. 41-44 in b. 72 onwards. But now embeds…

A

oscillating triplet ostinato

60
Q

In b. 78 we come across a…(rhythm and melody)

A

Rippling ostinato of demi-semi-quavers

61
Q

After the rippling ostinato of demi-semi-quavers, the rhythm gets grouped into…

A

Quintuplets and sextuplets

62
Q

In b. 84, the…(melody/texture) returns

A

countermelody

63
Q

From b. 88 until the end of the piece, the harmony feels…

A

Static

64
Q

Dynamics in the last page

A

pp -> encore plus pp

65
Q

What occurs in b. 93 (rhythm)

A

Metric displacement

66
Q

Structure in Gamelan music

A

Colotomic, Stratisfied polyphony

Music? (30 decks)

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