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

Estampes No. 2 La Soiree dans Grenade Flashcards

Debussy

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: “Samson 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
b. 17 texture
Homophonic Homorhythmic
26
At the end of b. 20 (harmony) + AO4
Tertiary harmony shift Typical of Spanish music
27
What is absent in this piece (rhythm)
A clear, regular metric pulse
28
Structure
Sectional
29
Harmony in general +AO4
Parallel chords of 7ths 6 notes Mimic guitar
30
In b. 22 something happens in terms of "melody" what is it? + AO4
Arpeggiated octaves Flamenco guitar
31
When the tempo marking says rubato, what happens... (melody, rhythm, harmony)
new idea. Languid triplet reveals whole tone harmony
32
What usually occurs in terms of rhythms +AO4
It repeats Spanish trait
33
b. 29 - 33 (harmony)
Repeated idea from b. 17-20, only a perfect 4th higher. Implies F# phrygian mode TONAL AMBIGUITY
34
Why is b. 33-35 highly dissonant
because of the parallel motion of major and minor chords
35
b. 33-35 (rhythms)
Internal habanera rhythm Syncopated Descending sequence of interlocking 3rds Cross rhythms
36
b. 37 before tres rythme (texture)
Monophony
37
In b. 38 (tres rythme section), what happens in terms of structure
There's a 4 bar intro
38
Tonal centre in b. 38
A
39
Arpeggiated chords in b. 38...
distort the pulse and add a sense of rubato
40
First chord in b. 38 is missing a...making it a... + AO4
3rd Bare 5th It is meant to resemble the foot stamping on the downbeat in flamenco dance
41
In b. 43 the melody is
Conjunct Repeated notes Frequently plays appoggiaturas on the downbeats
42
Harmony in b. 45
FALSE RELATIONS
43
Harmony in b. 49 after the false relation
1/2 diminished chord
44
During the codetta the melody...
chromatically descends and winds down over the habanera ostinato
45
b. 61 is created from the same melody heard from b. 23 (6 bar unit). In terms of harmony, there is a...
C# pedal Chromatically altered, no longer whole tone harmony Arpeggiated octave punctuated
46
There are...(sharps/flats/double sharps) in b. 67 which act as...(ornament)
Double sharps Chromatic appoggiaturas -> Typical of Andalusian violin music
47
In b. 67 when there are double sharps...(rhythm)
Lombardic rhythms
48
Tonality in b. 67
F# (remains ambiguous)
49
Texture in general
Stratified polyphony but also melody dominated homophony
50
There is an...chord in b.74
Augmented chord
51
The chromaticism in b. 75 leads...
to greater harmonic variety with added 9th chords -> warmth
52
Pentatonic linking section (b. 77) is significant because the rhythm is later used in...
"Golliwog's catwalk"
53
Harmony in b. 78
Parallel triadic chords C# habanera pedal
54
Harmony in general
Whole tone
55
b. 82-84 harmony (chords)
B# dim. 7th chord leads to 1/2 dim chord with added 9th
56
In b. 91 there is a monophonic statement of repeated...
G#'s
57
How does Debussy separate ideas in b. 96 for the pianist
Musical layers are on 3 staves
58
In b. 96 there is (texture)
Parallel homophony
59
b. 96 harmony
Tertiary harmony
60
In b. 109, the tempo marking is "Leger et lointain", what is the tonality of this section
C mixolydian
61
b. 109 feels like...
Toccata and fugue like configuration depicting the rain -> Link: 3rd estampes
62
Wider listening toccata section
"The Sunken cathedral"
63
In b. 119, when we go back to familiar territory after the "rain section", the 2 bars of habanera rhythms, lead to an...
expansive arpeggiated major 9th chord. Where the middle part plays the Moorish lament melody again
64
As the music fades, there is a...(chord)
F# add 7th and 9th played
65
Warm, rich sonority full of the...
summer heat of Granada

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