LA CATHEDRALE ENGLOUTIE DEBUSSY PDF

I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too emgloutie e. Unsourced material may be challenged and removed. Debussy uses the technique of parallelism also known as harmonic planing in his prelude to dilute the sense of direction motion found in prior traditional progressions. Simply Classical Movie Music. There are many different versions of the legend. Romantic Evening Sex All Themes.

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Each larger section can be further divided into smaller sections and themes, which are arranged to give the piece a roughly symmetrical structure.

The A section can itself be divided into three smaller sections: a1 m. The introduction of the piece a1 features the G major pentatonic collection in ascending block chords evocative of organum chant with lots of parallel fifths. This motif repeats itself twice, but each time the bass moves down a single step, so that the first repeat of the motif takes place over an F in the bass and the second repeat over an E. This changes the collectional center of the opening to the relative E minor pentatonic.

The top note of this motif, an E, is held in octaves and repeated, evoking the sound of church bells. This is the first hint of the true tonic of the A section and the piece overall. The a2 section begins at m. This stands in stark contrast to the slow, open quarter and half note lines of the a1 section, though the right hands still features similar ascending quarter note chords.

The melodic material in both the B major and E-flat major sections utilize the respective pentatonic modes of those keys. This section builds to the arrival at the a3 section. The beginning part of a3 m. This builds up to the climax of the piece at m. The thick block chords played with both hands evoke the sound of an organ. While the majority of this theme is presented in the C major diatonic mode, the addition of a B-flat in m. The ending measures of a3, 42—46, serve as a transition into the B section of the piece.

This material is expanded and builds up to a climax within the B section at measure As the music recedes down from this climax, one of the most interesting sonorities of the piece is presented in m. The roots of these planing chords follow the key signature but the quality of each chord remains dominant. This gives way to a 4-measure transition m. The AI section is something of a mirror image of the original A section. The C major theme that was originally presented in the final a3 section of A returns at the beginning of AI, this time pianissimo, not scored quite as thickly, and in a lower register over an oscillating 8th note figure in the bass.

This gives way to the final small section of the piece m. The rising pentatonic figuration seen at the beginning appears here, this time in the tonic C major. The piece ends on a C major chord with an added scale degree 2. The nearly symmetrical ABA form helps illustrate the legend that Debussy is alluding to in the work, and his markings help point toward both the form and the legend.

Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways. For example, motif 1 appears in the bottom of the right-hand chords on the 2nd, 3rd, and 4th quarter notes of measure 14 D-E-B , and again in the next three quarter note beats D-E-B.

Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 B-D-E. Motif 1 is heard on a broader scale in the bass notes dotted whole notes in measures 1—16, hitting the notes of the motif in inversion and transposition on the down-beats of measures 1, 15, and 16 G-C-B.

Also within measures 1 through 15 are two occurrences of motif 2 G in measure 1, E in measure 5; E in measure 5, C in measure Motif 1 is also heard in a soprano voice from measure 1— The high D in measures 1, 3, and 5; the soprano E octave that occurs 12 times from measures 6—13; the high B in measures 14 and Throughout all of this motivic repetition, transposition, and inversion, the themes longer phrases made up of the smaller motifs stay very much static, with only occasional elongation or shortening throughout the piece: The rising pentatonic theme in measure 1 theme 1 repeats in measure 3, 5, 14, 15, 16, 17, 84, 85, and with a slight variations in measures 28—40 and 72— A second theme theme 2 , appearing for the first time in measures 7—13, repeats in measures 47— This is quite different from simple melodic doubling, like the 3rds in Voiles, or the 5ths in La Mer, which are not usually heard alone without a significant accompanimental figure.

Parallel harmony forces the chords to be understood less with functional roots, and more as coloristic expansions of the melodic line. There are two methods of parallelism in music; exact and inexact. Inexact parallelism allows the quality of the harmonic intervals to vary throughout the line, even if the interval sizes are identical, while exact parallelism the sizes and qualities remain the same as the line progresses.

Inexact parallelism can give a sense of tonality, while exact parallelism can dispel the sense of tonality as pitch content cannot be analyzed diatonically in a single key.

Through application, tonal ambiguity is created that is often seen in Impressionist music. It can be noted that it took some time for Impressionist music to be appreciated, but the critics and the listening public eventually warmed up to this experiment in harmonic freedom. It was arranged for orchestra by Leopold Stokowski as The Engulfed Cathedral and released in a recording in Isao Tomita arranged the piece for electronic synthesizer as part of his Snowflakes Are Dancing recording of — John Carpenter used it as sound track in his science fiction movie Escape from New York.

Simon Trezise. Cambridge: Cambridge University Press, , The Thematic Process in Music. New York: Macmillan, , Debussy: His Life and Mind, volume 2. MacMillin, , New York: Macmillan, , — Claude Debussy, : Accessed March 17,

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