Debussy questions
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- Created by: lilac123
- Created on: 01-04-21 11:45
Give two features of the use of harmony/tonality in the first four bars.
B minor
Octatonic
Bare/open 5ths
Melody spans a tritone
Octatonic
Bare/open 5ths
Melody spans a tritone
1 of 13
The opening theme, x, returns later in the extract (bar 1-28). Identify the location of this return and state one similarity, and two differences.
Location Bar 11 (Rotation 2)
Similarity Dynamic marking/rhythm/melodic shape
Differences Instrumentation/pitches/tonality/no. of textural layers/phrase length (interjection)
Similarity Dynamic marking/rhythm/melodic shape
Differences Instrumentation/pitches/tonality/no. of textural layers/phrase length (interjection)
2 of 13
Other than tonality, identify four differences in the music of theme x and y.
-x’s melody features oscillating repetition, whereas y has a clearer lyrical rising and falling shape
-y has greater rhythmic variety than x
-y is a monophonic line whereas x is chordal
-x is pp whereas y is marked with crescendo and diminuendo expression
-y has greater rhythmic variety than x
-y is a monophonic line whereas x is chordal
-x is pp whereas y is marked with crescendo and diminuendo expression
3 of 13
Briefly outline what you consider to be the form of this movement, mentioning any unusual or interesting features in Debussy’s approach to this aspect of the work.
-Could also be interpreted as a ternary form, ABA’
For the rotational structure, the beginning of each ‘rotation’ is marked with the return of the x motif, albeit varied each time
5 rotations in total
The sectional structure relies more on changes in text
For the rotational structure, the beginning of each ‘rotation’ is marked with the return of the x motif, albeit varied each time
5 rotations in total
The sectional structure relies more on changes in text
4 of 13
Give two examples of the extended instrumental techniques in the extract. (bars 28-46)
Pizzicato (pluck the string)
Sur la touche (play on the fingerboard)
Con sourdines (with mutes)
Sur la touche (play on the fingerboard)
Con sourdines (with mutes)
5 of 13
Describe how bars 33-41 (between figures 3 and 4) creates an effective climax to the movement.
Swells in dynamics leading to an eventual crescendo
Building of texture to full orchestra at bar 39
Gradual rising of pitch
Ascending sequence
Use of x theme
Building of texture to full orchestra at bar 39
Gradual rising of pitch
Ascending sequence
Use of x theme
6 of 13
Give definitions for each of the following:
3o
Sans retarder
Un peu en dehors
3o
Sans retarder
Un peu en dehors
3o 3rd player play
Sans retarder Without slowing
Un peu en dehors A little more prominently
Sans retarder Without slowing
Un peu en dehors A little more prominently
7 of 13
(d) Describe the relationship of the thematic material of Rotation 5 to Rotation 1
Essentially the same material
6/4 crotchets predominate
New countermelody
Fragmentation of x
Wider instrumentation
Played at a lower pitch in Rotation 5
6/4 crotchets predominate
New countermelody
Fragmentation of x
Wider instrumentation
Played at a lower pitch in Rotation 5
8 of 13
(e) Briefly outline the harmonic underpinning of this movement, mentioning any unusual or interesting features in Debussy’s approach to this aspect of the work.
Tonal centre of B – ambiguous B minor tonality
Octatonicism
Pentatonicism
Non-functional harmony
Whole-tone scale
Frequent use of parallel chords
Frequent use of extended chords
Some moments of tonal clarity – e.g. C major chord bar 31
Static/sustained h
Octatonicism
Pentatonicism
Non-functional harmony
Whole-tone scale
Frequent use of parallel chords
Frequent use of extended chords
Some moments of tonal clarity – e.g. C major chord bar 31
Static/sustained h
9 of 13
Give two features of the use of metre/rhythm in the extract (begins bar 79)
-cor anglais 4/4 melody against 6/4 accompaniment (79-82) [accept
-6/4 metre is itself ambiguous / not clear whether the 6 beats divide into
2 groups of 3 or 3 groups of 2
syncopation – several instances – e.g., flute melody (98)
string pizz motif (D
-6/4 metre is itself ambiguous / not clear whether the 6 beats divide into
2 groups of 3 or 3 groups of 2
syncopation – several instances – e.g., flute melody (98)
string pizz motif (D
10 of 13
The entire melody played by the cor anglais in bars 79(4)-94(1) has been heard earlier in the work. Give the bar numbers of this
earlier 15-bar statement.
earlier 15-bar statement.
Bars 43(2)-57(1)
11 of 13
Describe how the accompaniments to this melody in the two statements
differ.
differ.
-Repeated crotchet figuration in earlier statement / replaced by
sustained chord {pedal}
-(oscillating) triplet figure in French Horn (46-47/1)eliminated in later statement / as is its varied repetition (50 51)
“replaced” by new (repeated) 2-note (chord
sustained chord {pedal}
-(oscillating) triplet figure in French Horn (46-47/1)eliminated in later statement / as is its varied repetition (50 51)
“replaced” by new (repeated) 2-note (chord
12 of 13
Describe how bars 94/2Fig.10-end function as a coda to the rest of the piece.
-Combines/juxtaposes material used in contrasting sections {both opening material and pentatonicism of Rotation 4 referenced}
-pedal B {static harmony} suggests sense of harmonic resolution
-final references to F natural rather than F# (99-102) confirms m
-pedal B {static harmony} suggests sense of harmonic resolution
-final references to F natural rather than F# (99-102) confirms m
13 of 13
Other cards in this set
Card 2
Front
The opening theme, x, returns later in the extract (bar 1-28). Identify the location of this return and state one similarity, and two differences.
Back
Location Bar 11 (Rotation 2)
Similarity Dynamic marking/rhythm/melodic shape
Differences Instrumentation/pitches/tonality/no. of textural layers/phrase length (interjection)
Similarity Dynamic marking/rhythm/melodic shape
Differences Instrumentation/pitches/tonality/no. of textural layers/phrase length (interjection)
Card 3
Front
Other than tonality, identify four differences in the music of theme x and y.
Back
Card 4
Front
Briefly outline what you consider to be the form of this movement, mentioning any unusual or interesting features in Debussy’s approach to this aspect of the work.
Back
Card 5
Front
Give two examples of the extended instrumental techniques in the extract. (bars 28-46)
Back
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