Clair de lune- help!?
Topic: Clair de lune- help!?
June 20, 2019 / By Danielle Question:
i have to write an essay (by tomorow) on Debussy's "Suite Bergamasque", a comparitive study of Passepied and Clair de Lune, the fourth and thrid movements from the suite.
i could write for hours about what it represents and about Debussy, but i have to write about musical techniques also.
could anyone give me a head start with some musical techniques used by Debussy?
I'm not asking you to do my homework, i just need a starting point!
Best Answers: Clair de lune- help!?
Bonnie | 4 days ago
Sorry, I'm not familair with the Passepied, so I'll have to comment only on Clair de Lune.
In the opening 14 measures, where is there repetition in the melody? Where are the phrases and how long are they? What is repeated and what isn't?
The section marked "Tempo rubato" never reappears in any form, nor does it contrast with the opening theme as sharply as does the section marked "Un poco mosso." I would call it either a transitional theme or a sub-section. Think about this and explain why you agree or disagree.
Here again, analyze the phrases for repetition and phrase length.
The progression in ms. 25-26 is especially interesting. Be sure to comment on the suspension in ms. 26. Also, Debussy, warns us of the forthcoming chord with an Fb in it. I can't quite figure out what that chord is. See if you can figure it out. Is that chord the same in ms. 25 and 27? Or is it a little different?
In the "Un poco mosso" section, again look out for phrase length and reptition. How does Debussy get in and out of the key change in ms. 37-42? In those 6 measures, does Debussy make a mere transposition? Or does he make some changes? Also, how does Debussy prepare us for the restatement in ms. 51?
How does the restatement compare with the opening? Debussy carries the arpeggios over from the second section. The earliest incident I know of in which a composer continuing an accompanying figure into a restatement is in the slow movement of the Beethoven Pathetique Sonata. Here, the triplets start in the C section at ms. 37 and continue throughout the restatement, beginning at ms. 51. Can you think of an earlier case?
Debussy could end the piece after ms. 65, but he decides not to. in the 7-measure coda, he makes a motive play out of that chord which I can't identify. He even uses it for the penultimate chord. How does that affect the cadence? Is it still a traditional cadence which you learned in music theory class? Or is Debussy defying tradition?
Was this essay assigned today? If it was assigned earlier, you should have started earlier.
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Planing (not planning)--manipulation of a Plane
Layers of sound
Non-Functional Harmonies: Harmonies that are used just for the sake of their sound.
Stratification and Cross-Cutting of musical ideas: (Think "Rite of Spring")
Belll sounds, chimes, imitation of Gamelan sounds
A Multitude of Articulations ("counterpoint" of articulation)
The Pedal is an integral part of the composition
If you would like a more detailed description of these, feel free to email me.
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I'm sure you have checked, but...
About his musical techniques, press 'musical styles' on the contents of the first link. I don't quite understand, but just give it a try.
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