Pour le Piano: Sarabande - Debussy
Overview of piece.
MDH - Melody Dominated Homophony
- Created by: ashtonfrancesca
- Created on: 13-01-14 19:47
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- Pour le Piano: Sarabande - Debussy
- Metre
- 3/4
- Resources
- Solo Piano
- Some left hand chords extend to well over an 8ve, must be spread
- Wide range: very low C# to E just over 5 octaves higher
- Solo Piano
- Rhythm
- Tremelo idea (bar69)
- 2nd beat emphasised in many bars: typical of Sarabande
- Rhythmic variety
- Continuous quaver chords
- 2 semiquaver figure (bar5) or reverse (bar 23)
- Hemiola (bars67-68)
- Triplet quavers (melody in opening)
- Background
- Neo-classical: 1901
- Structure
- Binary structure
- Longer B section: includes modified repeat of opening music (bars 42-49)
- Short A section: end of C# with a quiet low passage in 8ves
- Periodic Phrasing with 2 bar units & multiples thereof
- Binary structure
- Tonality
- Aeolian Mode in C# minor
- Some tonal ambiguity (melody bars 1&2 could represent Em but harmonisation closer to modal C#m
- Doesn't treat mode traditionally
- Harmony
- Many chords are ordinary triads in root position, others are lush parallel 7th chords
- Chromaticism (bar25-28)
- Whole-tone scale (bar7)
- Non-functional
- Quartal Harmony: based on superimposed 4ths
- Chord Streams (bar35-41)
- Textures
- Parallel 5ths
- MDH (bar9-12) elsewhere is homorhythm or chordal writing
- Parallelism (6 note chords at start)
- Few ninth chords
- Parallel 8ths: mostly doublings of principal melody (bar1)
- 3 short 8ve passages provide contrasts (bars5-6)
- Melody
- Repetition (bars 1-2 repeated in bars3-4 with slight embellishment)
- Moves narrowly in most phrases: mixture of conjunct movement & leaps of 3rd or 4th
- Slightly more extended on approach to an important cadence or sectional break
- M.d. at end with right hand: hugely complex finish in lower tessitura
- Metre
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