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Estampes (Prints) by Debussy No.1 Pagodes (Harmony (Absence of functional…
Estampes (Prints) by Debussy
No.1 Pagodes
Instrumentation
Use of
sustained pedal
to create
shimmering
and
atmospheric
effects (27-31)
Use of
cross hands
to allow the pianist of achieve the widely spaces textures
Wide
range of pitch (5-6)
Detailed dynamics
and
performance directions
Structure/form
Pieces are
short
compared to other Romantic composers.
Made up of
short melodies
(3-4)
Loose ternary form
- Debussy wanted to move away from traditional structures and harmonic plans. -
Section B
contains
elements
of
Section A
Gamelan music uses
cycles
, reflects Eastern ideas that things come back around.
Uses
textural
and
timbre contrasts
rather than
melodic development or harmonic changes.
Tonality
Use of
tonal scheme
avoids sense of tonic and dominant chords and traditional modulation.
More
diatonic
than other 20th century styles (Schoenberg)
Tonal center of B
Moments of the piece are in
A major
(41-). However, there are
E#
from 45.
Harmony
Absence of functional harmony
Open bare 5ths
- allude of Gamelan
Added note chords
(added 6th in bar) creates
colour
and reflects Gamelan music
Long
pedal notes
create a feeling of
stillness
- relates back to Gamelan music.
Parallel chords
(4ths and 5ths (27-30))
Texture
Open bare 5ths
-
gong like
Layers
are similar to Gamelan music (1-16)
Melody over
ostinato
accompaniment (15-18)
Parallel chord
movement (41-43)
Rippling effect
- demisemiquavers
high in register
over a
pedal note
(80-)
Melody
Pentatonic scale
emulates the
slendro
scale used in Gamelan music. (3-4)
Whole tone scale
(33-36)
Modal melodies
- flattened 7th (5)
Rhythm, metre & tempo
Freer
rhythmic sections (
rubato
and
retenu
) and
stricter
passages (
tempo giusto
and
tres rhythme
)
Ties
across bar lines
eliminates the strong 1st beat.
(3-4)
Oriental style melody
-
simple rhythms
,
cross rhythms
(15-16) -
2v3