Please enable JavaScript.
Coggle requires JavaScript to display documents.
Estampes (Prints) by Debussy No.2 La soireé dans Grenade (Tonality (Tonal…
Estampes (Prints) by Debussy No.2 La soireé dans Grenade
Instrumentation
Spanish inferences with imitation of
strummed flamenco guitar chords
(17-18)
Detailed dynamics
and
performance directions
.
Use of
cross hands
to achieve the
widely
spaced textures.
Structure/form
Debussy liked the
freeness
of Eastern music and wanted to move away from traditional expectations and through a set structure and harmonic/ tonal plan.
Gamelan music uses
cycles
, reflects Eastern ideas that things come back around.
Sectional
in style with many
short sections,
and the ideas are
repeated
.
Tonality
Use of
tonal scheme
avoids sense of tonic and dominant chords and traditional modulation.
More
diatonic
than other 20th century styles (Shoenberg)
Tonal centre of C#
Moves to
F#
at 29
Use of
modes
-
mixolydian
on
C
(109-112) and
mixolydian
on
A
(115-118)
Harmony
Absence of functional harmony
Pedal notes
provide the tonal centre of C# (5-14)
False relations
(52)
Texture
Parallel chord movement
Cross hands
- widely spaced textures (122-)
Melody
Whole tone scale
(23-28)
Double-harmonic scale
sounds like an African Moorish lament (RH, 7). The Moors invaded southern Spain from North Africa and settled in Grenada. Characteristics are opening
dissonance
and
augmented 2nd
(B#-A) heard in flamenco music and
acciaccaturas
.
Ostinato figures throughout
Melodies mostly
conjunct
but occasionally wide leaping (113-114)
Rhythm, metre & tempo
Freer
rhythmic sections (
rubato
and
retenu
) and
stricter
passages (
tempo guisto
and
trés rhythme
)
Gong like sounds
Images of Spain -
habenera rhythm
Rhythms often sound improvised - use of
triplets
which often create
cross rhythms
(13-16) and
syncopation
(33-36)