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Debussy - 'Estampes' (Tonality ('Pagodas' (Suggests B…
Debussy - 'Estampes'
Melody
'Pagodas'
'Gong-like' open 5th
Pentatonic scale (slendro scale)
Pentatonic style melody first appears in bar 3
Scale countermelody in bar 7
Melody in octaves from bar 11
Contrary motion
Whole tone melody in Section B
'La soiree dans Grenada'
'Moorish' lament
Dissonance between D & C#
Augmented 2nd - B# to A
Typical of flamenco music
Mainly conjunct
Acciaccatura
Whole tone scale
Extreme ranges
Tonality
'Pagodas'
Suggests B major but not fully established
'La soiree dans Grenada'
Hints at A major (tonal centre A)
Does not follow traditional Western conventions
Harmony
'Pagodes'
Added notes in chords
Avoids straight forward triads
Pedal
Avoids using 3rd intervals
'La soiree dans Grenada'
Parallel chords
Added notes in chords
Chords based on 4ths and 5ths
Inverted pedals
Spread chords
Texture
'Pagodes'
Countermelody in the middle of the texture at bar 9
Octaves at bar 19
At bar 80 the melody is in the middle of the texture
Texture built on layers of different motifs
'La soiree dans Grenada'
'Habanera' rhythm used at the top of the texture near the end
Rhythm/Metre/Tempo
'Pagodas'
Varying tempos
'Rumbling' triplets
Cross rhythms
Syncopated crotchet idea in section B
Demisemiquavers
'La soiree dans Grenada'
Habenera rhythm: dotted rhythm
Simple duple time
Staccato regularly used
Regular tempo changes
Syncopation
Triplets
Instrumentation
Cross hand technique (MG & MD)
High tessitura
'La soiree dans Grenada'
Spread chords (guitar sounds)
Context
'Pagodas'
Javanese Gamelan
Pentatonic scale (slendro scale)
Ostinato
Shimmering layered textures
Interlocking rhythms
Slow rate of chord change
'La soirée dans Grenade'
Images of Spain
Habanera rhythm ostinato
Habanera = Cuban dance
'Strummed guitar' chords
Parallel movement
Impressionism
Brevity
Descriptive music and ideas
Pentatonic and modal
Avoids tonic and dominant
Parallel chords
Sustain pedal
Structure
'Pagodas'
'Loose' ternary form (ABA)
'La soiree dans Grenada'
Many short sections