- Monophonic opening (Flute melody)
- Instruments often double each other (e.g. bar 40-42 Violins)
- Pedal Points (e.g. Double Bass)
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- Extended Ternary: A, B, A, Coda
- Based around different variations of the melody
- Coda bars 94-110
- Lots of Sub sections
- Fluid Form
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- Opening melody ascending and descending with chromaticism between tritione
- Use of different scales e.g. Whole tone (bar 31), Chromatic, Pentatonic (bar 37)
- Constantly varied/ evolved rather than developed. e.g. bars 1-5 returning in bars 21-23
- Chromatic melody throughout
- Melodic lines often thickened by 2nds or complex chords.
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- Key not properly established until bar 21.
- Key is E major/ C# minor
- Clearly E major at end with perfect cadence
- Passing modulations e.g. bar 55 Db major
- sense of key ambiguous - use of different scales.
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Debussy Instrumental Forces
- Very large orchestra
- Strings muted for extended periods.
- String techniques e.g. tremolo
- harp used for effect e.g. glissando
- octave unison doubling.
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Debussy Rhythm and Metre
- Ties lead to ambiguous sense of time (e.g. first flute solo) - really in compound triple.
- Long complex rhythms.
- Homorhythm in some places
- Cross Rhythms e.g. bar 67
- 'B' section has a more stable metrical framework, remaining in Simple Time throughout.
- Metre changes throughout
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- Non-functional - occasional hint of functional cadences
- Extended chords
- Non-diatonic (lots of chromaticisms)
- Succesions of unrelated chords rather than progressions
- Half diminsished chords (e.g. bar 4)
- Non-resolving dominant (e.g. bar 5)
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