Debussy- Sarabande
- Harmony
- Melody
- Texture
- Structure
- Tonality
- Rhythm and Metre
- Performing Forces and Handling
- Created by: Sommer Ledger
- Created on: 05-04-14 09:09
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- Debussy
- Harmony
- Generally non-functional
- Systematic parallelism and chord streams
- Parallel 5ths and 8ves used
- Seventh chords that don't need preparation or resolution
- Few ninth chords (Bar 11, quaver beat 3)
- Quartal harmony- based on superimposed 4ths instead of superimposed 3rds
- Melody
- Mostly conjunct movement with small leaps of a 3rd or 4th
- Narrow movement in the melody
- Texture
- Almost entirely homophonic with much parallelism
- Some melody- dominated homophony
- Homorhythm/ chordal writing at beginning
- 3 short octave passages provide contrast
- Structure
- Doesn't fit traditional form
- Section A, B Av- could be ternary/ binary or rondo form
- Coda
- Repetition with slight embellishment (Bars 1-4)
- Periodic phrasing
- Tonality
- Aeolian mode of C sharp minor
- Tonal ambiguity
- First section has clear tonal contrast- suggests G# aeolian minor or D# aeolian minor (ambiguous)
- Second section shifts a minor 3rd to suggest E aeolian minor then strong tonal contrast (maybe A# aeolian minor) then modal F# minor
- Repeat of opening- 1st chord is D major- key not clear
- New material tonally complex and ambiguous
- Rhythm and Metre
- Simple triple time
- Second beat emphasised in many bars
- Continuous quaver chords (chord streams)
- Two semiquaver- quaver figures (Bar 5)
- Triplet quavers- in melody at the start
- Performing Forces and Handling
- Wide range- several very low C#'s to E over 5 octaves higher
- Some left-hand chords extend to well over and octave and have to be spread (Bar 19)
- Wide range- several very low C#'s to E over 5 octaves higher
- Harmony
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