AOS 5 Estampes Flashcards Preview

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Flashcards in AOS 5 Estampes Deck (10)
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Describe how Pagodes is a fusion

Fused with 'Javanese Gamelan';
Lots of Gong-like open-fifths;
Added notes avoid straightforward triads and recreate Gamelan harmonies, such as the added G# in bar one;
Use of pentatonic scales (slendro). Ostinato theme only uses four different notes;
Speed changes throughout, as would be done in gamelan music


Describe the loose structure of Pagodes

Loose ternary form -
Main section, B section, Main section varied


Describe the music in the first section of Pagodes (bars 1-32)

Two bar intro with cross hands playing semi-syncopated gong like phrase with open fifths and added note harmonies;
Gong continues as a pedal with a low G#;
Five sharp key signature is used, but neither B or G# is established, but B almost acts as a tonal centre;
Four-note ostinato is heard, and repeated with added flat seventh in the melody, and then a scalic countermelody is played as well;
A pentatonic idea is heard whilst the ostinato idea is heard in the RH;
A bridge-like passage is then heard with the LH playing triplets, almost trill like whilst the RH plays an oriental style melody with cross-rhythms;
The music speeds up slightly with the triplets in octaves with bass gradually descending;
The two hands explore versions of the four-note idea in contrary motion;
A sustaining pedal is then heard whilst open fourths are heard over the top and harmonies from the beginning are reproduced.


Describe the music in the second section of Pagodes (bars 33-52)

An off-beat two note chord is played, with a whole tonal like melody being played in the LH;
Many elements from the first section is often heard, and the music builds to a climax, with a gong like low note heard at the very bottom;
Whole tone melody returns, this time in the left hand, with trills heard above it, and the tempo slows.


Describe the music in the third section of Pagodes (bars 53-end)

The opening theme returns (without introduction);
A new rippling ostinato figure is heard in demisemiquavers at a high tessitura in the RH, which accompanies the tune in the LH;
The dynamics at the end completely die away with 'as quiet as possible' and let ring.


Describe the use of the habanera in La soirée dans Grenade

Piece is to be played at 'movement de Habanera';
Often heard throughout the whole piece in one form or another;
Staccato is an essential characteristic of the style and is found often when its used.


Describe the use of guitar sounds in La soirée dans Grenade

Rapid staccato spread chords of the flamenco guitar can be heard throughout, and the use of fast chords is like a continuous strum on a note.


Describe the use of the Moorish Song in La soirée dans Grenade

The melody first heard is like a Moorish lament, and it starts with extreme dissonance with the false relation, and has the use of the distinctive augmented second of flamenco music.


Describe how La soirée dans Grenade is a typical piece in Debussy's style

Lots of parallel chords;
Added note chords and chords based on fourths and fifths;
Frequent tempo changes;
Whole tone scale;
Cross-hand technique;
Clear tonal character, even with dissonance chords built on fourths and fifths


Describe the music in the first section of La soirée dans Grenade (bars 1-37)

Begins with an introduction to the habanera rhythm, and uses extreme ranges;
Moorish lament then begins, which is made to sound in free time;
A new parallel seventh chord idea starts, and each two bar phrase ends with a staccato spread chord, all with a C# pedal throughout;
Two bars of Habanera rhythm is heard, before a whole tonal idea is heard, sounding over a repeated C# habanera rhythm, and the LH is in treble clef, so everything sounds higher;
A transposed parallel seventh chord idea is heard, and has a new extension with syncopation and triplets.