Debussy- Pagodes Flashcards

(53 cards)

1
Q

What did Debussy like doing?

A

Defying traditional western harmonic rules and experimenting with unique sonorities,

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2
Q

What did he fuse

A

Western techniques that he learnt at the Paris conservatoire with Eastern elements from the Paris exhibition

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3
Q

Why did he keep traditional western harmonic structure

A

To appeal to the western ear- it also would have been impossible on the piano anyway,

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4
Q

What was the great exhibition

A

In Paris in 1889, it showcased technological, industrial and cultural achievements from all over the world,

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5
Q

What is Gamelan music

A

A type of Indonesian music that is learnt by ear and not written down,
It was created to communicate with the Indonesian gods in 230 AD,
The use of different instruments allowed for more complex messages,

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6
Q

Why were his musical directions in French

A

As another form of rebellion against tradition

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7
Q

How are pagodas represented

A

Through phrase shape, they look like pagodas

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8
Q

When is the core melody established

A

Bar 3

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9
Q

What does the core melody provide

A

The motivic framework for most of the piece- as an ostinato,
It is initially tetratonic (4 notes)

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10
Q

What style of work is it and how does that affect it

A

It is impressionistic so should not be overly expressive,
The colour presented by the texture is emphasised,

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11
Q

What does the rigid rhythm do

A

Reduces the natural inclination of pianists to add rubato

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12
Q

What are some other melodic features of the piece

A

Very disjunct
Large rippling arpeggios
Staccato mimics the mallets
Tenuto adds weight and resonance,

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13
Q

What happens when the melody is repeated at bar 5

A

The harmonies change subtly

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14
Q

What happens at bar 7

A

A scalic countermelody is introduced

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15
Q

Describe bar 11

A

A pentatonic octave idea with the initial ostinato in octaves,
Octave doubling is an impressionist and Gamelan feature

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16
Q

What is introduced at bar 15

A

A rumbling triplet ostinato figure, like a slow trill, based of the major 2nd interval in bar 3,
It produces cross-rhythms with the triplets

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17
Q

What happens at bar 23

A

Contrary- motion

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18
Q

What is used as a linking feature between section A and B

A

The two note syncopated major 2nd

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19
Q

Where is the fortissimo climax

A

Bar 41

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20
Q

What is happening at the climax

A

The theme from bar 11 is in parallel harmony two octaves apart

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21
Q

Where does the harmony usually start

A

Before the melody

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22
Q

What type of harmony is used

A

Non-functional, the chords are generally not resolved
This is an impressionistic feature

23
Q

What is the speed of the harmonic rhythm

24
Q

What does the introduction end with

A

A perfect cadence but as a single note not a triad

25
What interval is used throughout the piece
Major 2nd dissonance from bar 3
26
What does the whole piece end on
A tonic triad ( B D# and F#) with a C# and G# extension, the G# and F# reference the dissonance that was there all the way through, Its not really a cadence it just rings on for as long as possible
27
What does the piece open on
Gong like open 5th that give tonal ambiguity
28
What is harmony added for
Colour
29
What is the key signature
B major of G# minor
30
Why is it tonally ambiguous
The key signature is not properly established, instead B is the tonal centre not the key
31
What is the Gamelan scale used
The pentatonic scale which the Slendro instrument uses
32
How many pentatonic scales are used
Four
33
What are some piano techniques used
Hand-crossing Sustain pedal blends the harmonies Large range
34
What do the low notes imitate
The gong
35
What are some features of Gamelan music used
Bass suspensions (gongs) Pentatonic scale Layering to symbolize the gradual addition of instruments in the orchestra
36
What is the main texture
Polyrhythmic- typical of Indonesian Gamelan They combine simple layers to make complex rhythms
37
What do octaves mimic
Bells
38
Where do the melodies move to
They move between hands, a bit like imitation in an orchestra
39
What is the structure of the piece
Loose ternary form The central section has elements from the first, Each section has several subsections
40
What are some of the rhythmic features used
Syncopation Cross rhythms Rippling arpeggios Dotted rhythms Demisemiquavers Syncopation Triplets
41
How is the pulse obscured
The melody starts on a weak beat
42
Who wrote Sarabande Pour le Piano
Debussy
43
What are the similarities with Sarabande Pour le Piano and Pagodes
Solo piano, Uses a wide range, Based on repetition and variation, Tonally ambiguous Lots of parallel 5th and 7ths, Switches to triplets and semiquavers to mimic tempo changes, Repetition to emphasis phrase, Non-functional harmony, Parallelism,
44
How is Sarabande Pour le Piano different
Not very virtuosic, Gentle and refined, Mostly homophonic, Not binary or ternary form Moves very narrowly- conjunct or small leaps- the melody is easy to follow which contrasts the unusual tonality and harmony,
45
Who wrote Pavane for a Dead Princess
Ravel
46
How is Pavane for a Dead Princess different
Rondo form, Clear pulse- for dancers, Homophonic + clear melody, Simple stepwise movement G major, Dorian mode for theme C,
46
How is Pavane for a Dead Princess similar to Pagodes
They both have recognisable and repetitive melodies, Use a solo piano, Some quite low notes, 7ths and Dissonance Use a pedal note- unusual harmony,
47
Who wrote Gymnopedie
Satie
48
What are the similarities between Gymnopedie and Pagodes
Solo piano, Three sections, Vague tonality, hints at other keys, Dissonance, Ninths, Pedal notes, Oscillating perfect fourths provide no sense of tonic resolution,
49
How is Gymnopedie different
The melody is a single, conjunct, flowing line of crotchets that ascends and descends like waves, Homophonic, No syncopation, Waltz feel
50
Who wrote Claire de Lune
Debussy
51
How is Claire de Lune similar to Pagodes
Breaks harmonic rules, Fragmented arpeggios, Loosely ternary form, Tonally ambiguous, A bit of dissonance, Solo piano, Large range, Lacks a distinct rhythm- no obvious pulse
52
How is Claire de Lune different
Very sparse introduction, Homophonic, Ends in a perfect cadence, 9/8 time- requires rubato,