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Music? > Estampes No. 2 La Soiree dans Grenade > Flashcards

Estampes No. 2 La Soiree dans Grenade Flashcards

Debussy

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1
Q

In the 8th century, Grenada was…

A

invaded by Moors

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2
Q

Melody is generally composed of…

A

Repeated pitches with ties over bars

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3
Q

Spanish influence…

A

Improvisational feel

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4
Q

Tempo marking

+ AO4

A

Mouvement de habanera

A habanera is a traditional slow, and graceful Spanish dance in simple duple metre, originating in Cuba

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5
Q

Wider listening for Habanera rhythms

A

Bizet: “Carmen, habanera”

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6
Q

What does the performance markings want at the beginning of the piece in regards to tempo

A

Begin slowly with a nonchalantly gracious rhythm

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7
Q

The extremely low pedal note in the beginning moves to… in b. 7

A

The highest register

(this note (C#) is NOT the tonic as the harmony is still ambiguous)

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8
Q

What does the staccato replicate

A

The double finger picking of flamenco guitar

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9
Q

1st 6 bars (harmony)

A

Bare 5ths
Octaves

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10
Q

Wider listening for bare 5ths, octaves and pedal notes moving registers

A

Ravel: “Habanera”

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11
Q

The 1st melody is…

A

Conjunct
Arabic scale (known as the double harmonic scale)
Dissonant -> Minor 2nd

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12
Q

Arabic scale AO4

A

Moorish lament

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13
Q

Arabic scale wider listening

A

Debussy: “La puerta del vino”

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14
Q

Habanera rhythm established

A

instantly. From the very beginning of the piece

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15
Q

b. 10 tonality

A

Phrygian mode

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16
Q

Wider listening for phrygian mode

A

Saint Saens: “Samen and delilah”

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17
Q

Extreme range AO4

A

Mimics the harmonics played by the classical guitar

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18
Q

Ornament heard in b. 12

+ AO4

A

Acciaccatura

Typical feature of Arabian music. Used in traditional prayer chants

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19
Q

b. 12 (straight after the acciaccatura) rhythm

A

Cross rhythms

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20
Q

Tempo marking in b. 15

A

Retenu

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21
Q

What tonal centre do we move to in b. 15 when there is retenu

A

C#

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22
Q

The expansion of tempo (retenu) is…

A

commonly used by Spanish musicians for expressive effect

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23
Q

In b. 15 the habanera rhythm is now of a…

A

G#

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24
Q

After the tempo marking of retenu (b. 15), the tempo marking now says…

A

Tempo guisto

Meaning: Unsettled, agitated

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25
Q

b. 17 texture

A

Homophonic
Homorhythmic

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26
Q

At the end of b. 20 (harmony)

+ AO4

A

Tertiary harmony shift

Typical of Spanish music

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27
Q

What is absent in this piece (rhythm)

A

A clear, regular metric pulse

28
Q

Structure

A

Sectional

29
Q

Harmony in general

+AO4

A

Parallel chords of 7ths
6 notes

Mimic guitar

30
Q

In b. 22 something happens in terms of “melody” what is it?
+ AO4

A

Arpeggiated octaves

Flamenco guitar

31
Q

When the tempo marking says rubato, what happens…

(melody, rhythm, harmony)

A

new idea. Languid triplet reveals whole tone harmony

32
Q

What usually occurs in terms of rhythms

+AO4

A

It repeats

Spanish trait

33
Q

b. 29 - 33 (harmony)

A

Repeated idea from b. 17-20, only a perfect 4th higher.

Implies F# phrygian mode

TONAL AMBIGUITY

34
Q

Why is b. 33-35 highly dissonant

A

because of the parallel motion of major and minor chords

35
Q

b. 33-35 (rhythms)

A

Internal habanera rhythm

Syncopated

Descending sequence of interlocking 3rds

Cross rhythms

36
Q

b. 37 before tres rythme (texture)

A

Monophony

37
Q

In b. 38 (tres rythme section), what happens in terms of structure

A

There’s a 4 bar intro

38
Q

Tonal centre in b. 38

A

A

39
Q

Arpeggiated chords in b. 38…

A

distort the pulse and add a sense of rubato

40
Q

First chord in b. 38 is missing a…making it a…

+ AO4

A

3rd
Bare 5th

It is meant to resemble the foot stamping on the downbeat in flamenco dance

41
Q

In b. 43 the melody is

A

Conjunct

Repeated notes

Frequently plays appoggiaturas on the downbeats

42
Q

Harmony in b. 45

A

FALSE RELATIONS

43
Q

Harmony in b. 49 after the false relation

A

1/2 diminished chord

44
Q

During the codetta the melody…

A

chromatically descends and winds down over the habanera ostinato

45
Q

b. 61 is created from the same melody heard from b. 23 (6 bar unit). In terms of harmony, there is a…

A

C# pedal

Chromatically altered, no longer whole tone harmony

Arpeggiated octave punctuated

46
Q

There are…(sharps/flats/double sharps) in b. 67 which act as…(ornament)

A

Double sharps

Chromatic appoggiaturas -> Typical of Andalusian violin music

47
Q

In b. 67 when there are double sharps…(rhythm)

A

Lombardic rhythms

48
Q

Tonality in b. 67

A

F# (remains ambiguous)

49
Q

Texture in general

A

Stratified polyphony but also melody dominated homophony

50
Q

There is an…chord in b.74

A

Augmented chord

51
Q

The chromaticism in b. 75 leads…

A

to greater harmonic variety with added 9th chords -> warmth

52
Q

Pentatonic linking section (b. 77) is significant because the rhythm is later used in…

A

“Golliwog’s catwalk”

53
Q

Harmony in b. 78

A

Parallel triadic chords
C# habanera pedal

54
Q

Harmony in general

A

Whole tone

55
Q

b. 82-84 harmony (chords)

A

B# dim. 7th chord leads to 1/2 dim chord with added 9th

56
Q

In b. 91 there is a monophonic statement of repeated…

A

G#’s

57
Q

How does Debussy separate ideas in b. 96 for the pianist

A

Musical layers are on 3 staves

58
Q

In b. 96 there is (texture)

A

Parallel homophony

59
Q

b. 96 harmony

A

Tertiary harmony

60
Q

In b. 109, the tempo marking is “Leger et lointain”, what is the tonality of this section

A

C mixolydian

61
Q

b. 109 feels like…

A

Toccata and fugue like configuration depicting the rain

-> Link: 3rd estampes

62
Q

Wider listening toccata section

A

“The Sunken cathedral”

63
Q

In b. 119, when we go back to familiar territory after the “rain section”, the 2 bars of habanera rhythms, lead to an…

A

expansive arpeggiated major 9th chord. Where the middle part plays the Moorish lament melody again

64
Q

As the music fades, there is a…(chord)

A

F# add 7th and 9th played

65
Q

Warm, rich sonority full of the…

A

summer heat of Granada

Music? (30 decks)

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