Estampes No. 1 Pagodes

Question 1

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

Answer 1

moving away from the late romantic period

Question 2

Structure

Answer 2

Ternary

Question 3

Tempo Marking

Answer 3

Moderately animated

Question 4

Melody (scale and influence)

Answer 4

Pentatonic

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

Question 5

There is a … (sonority -> piano technique)

+ AO4

Answer 5

tre chord (sustained chord)

Swirling feel, reverberating chords

Question 6

Debussy avoids (chords)

Answer 6

Dominant and tonic chords

Question 7

Fusion of…

Answer 7

Indonesian gamelan with Eastern music

Question 8

The second chord heard (LH) is called a…

Answer 8

diyad

Question 9

What playing technique is there apart from the tre chord

Answer 9

Hand crossing

Question 10

Rhythm in beginning (+ explanation/effect)

Answer 10

Syncopated quaver idea (features major 2nd)

Question 11

The 1st chord is of a… (interval)

+ AO4

Answer 11

Perfect 5th

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

Question 12

The tonal centre at the beginning…

Answer 12

B

Question 13

Texture in general

Answer 13

Layering of different rhythmic and melodic motifs
Kaleidoscopic, stratified.

3 part writing

Question 14

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

+AO4

Answer 14

After a quaver rest.

Weaker beat -> masks the pulse

Question 15

Melody 1 idea (beginning) describe notes used

+AO4

Answer 15

4 pitches (TETRATONIC MELODY)

Gamelan influence

Question 16

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

+AO4

Answer 16

Same 3 notes are rising in pitch. (octaves)

Resonate more

Question 17

Wider listening

Answer 17

Ravel: “Jeux d’eau”

Question 18

What happens in b.5 tempo marking

Answer 18

a tempo

Question 19

Harmony in general

Answer 19

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

Question 20

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

Answer 20

Scalic countermelody in the upper LH part.

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

Question 21

The staccato is used in the … register to mimic…

Answer 21

Upper

Mallet hammers

Question 22

Tenuto is used in the … register to….

Answer 22

Lower

Add weight and resonance

Question 23

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

Answer 23

G#

Question 24

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

Answer 24

rhythmic variation of the same pitches heard in b. 3

Question 25

b. 11 the melody is now in...

Answer 25

Octaves (wider range)

Question 26

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

Answer 26

its recognisable triplets in the upper floating melody

Question 27

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

Answer 27

Cross rhythms

Question 28

b. 13 is a rhythmic variation of...

Answer 28

the same melodic cell 1st heard in b. 11

Question 29

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

Answer 29

Damper sound, harsh

Question 30

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

Answer 30

Units

Question 31

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

Answer 31

the LH Debussy: Reverie

Question 32

The 2nd chord of b. 15 is..

Answer 32

1/2 diminished

Question 33

b. 15 onwards, all the chords are... +AO4

Answer 33

chromatic Western harmonisation alongside Eastern harmony (Vertical meeting of cultures)

Question 34

Triplets are used to...

Answer 34

Drive the piece forward

Question 35

The chromatic infused harmony is used to reflect...

Answer 35

the complex overtones heard in Gamelan music

Question 36

What is the tempo marking in b. 19

Answer 36

Animez un peu Meaning: A little more lively

Question 37

What happens in b. 19 in terms of the triplet ostinato heard in the previous bars (Also, mention what returns)

Answer 37

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

Question 38

In b. 21, what is replicated

Answer 38

The 3 pitched sonority from the opening bars

Question 39

Tempo

Answer 39

4 4

Question 40

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

Answer 40

Descends Slow harmonic bass

Question 41

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

Answer 41

Toujours anime Meaning: Always animated

Question 42

What happens melody wise in b. 23

Answer 42

Contrary motion Free pattern in the lower parts

Question 43

B. 25 (rhythm)

Answer 43

Cross rhythms

Question 44

b. 27 (harmony)

Answer 44

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

Question 45

Last 2 bars of section A can be identified by...

Answer 45

the off beat major 2nd idea -> Portato

Question 46

Section B, b. 33 (texture)

Answer 46

Reduced

Question 47

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

Answer 47

Off beat major 2nd dyads

Question 48

b. 37 (Section B), melody

Answer 48

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

Question 49

What is the new ostinato based upon?

Answer 49

b. 3 but now with diminution

Question 50

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

Answer 50

D# Gong-like

Question 51

Texture in b. 41

Answer 51

Homophonic and homorhythmic

Question 52

Harmony in b. 41

Answer 52

Parallel 2 octaves apart (LH and RH)

Question 53

The range in b. 41 is of... In this precise moment, the lowest note is a...and is punctuated to...(AO4)

Answer 53

5 octaves C# Exploit the piano

Question 54

b. 45 (texture)

Answer 54

2 part texture

Question 55

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

Answer 55

Pentatonic melody returns in LH

Question 56

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

Answer 56

dissolves into trills

Question 57

What tempo marking is seen before we reach Section A´ +AO4

Answer 57

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.

Question 58

Texture in b. 72 and dynamics

Answer 58

Homophonic ff

Question 59

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

Answer 59

oscillating triplet ostinato

Question 60

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

Answer 60

Rippling ostinato of demi-semi-quavers

Question 61

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

Answer 61

Quintuplets and sextuplets

Question 62

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

Answer 62

countermelody

Question 63

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

Answer 63

Static

Question 64

Dynamics in the last page

Answer 64

pp -> encore plus pp

Question 65

What occurs in b. 93 (rhythm)

Answer 65

Metric displacement

Question 66

Structure in Gamelan music

Answer 66

Colotomic, Stratisfied polyphony