848212
Beschreibung
Mindmap von Jess Button, aktualisiert more than 1 year ago
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Erstellt von Jess Button
vor mehr als 10 Jahre
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Debussy -
Sarabande
(Pour le Piano)
- Instrumentation
- Solo Piano
- Solo Piano
- Structure
- Rounded binary form with coda
- Non-standard
- Ternary form
- Non-standard
- Rounded binary form with coda
- Texture
- Monophonic
- 5-6, 20-22, 66
- 5-6, 20-22, 66
- Homophonic
- Block chords
- 1-4
- 1-4
- Tune and accompaniment
- 10-12
- 10-12
- Block chords
- Many examples of
streams of parallel chords
and close-harmony
textures
- 35-41
- 35-41
- Gamelan effects
- Bare open triads
- 63-64
- 63-64
- Open chords
based on quartal
harmony
- Bare open triads
- Parallel chords with pronounced
parallel 5ths recreate the sound of
medieval organum
- Monophonic
- Tonality
- Essentially in C# minor
- Key heavily masked by extensive
use of modality & quartal harmony
- Key heavily masked by extensive
use of modality & quartal harmony
- There are very few perfect cadences to define
the key, and many modal cadences are often
'imperfect' in effect. Chords slide from one to the
next in a way that avoids establishing keys. There
is often a tertiary relationship that is created when
music is repeated a 3rd higher or lower.
- Essentially in C# minor
- Harmony
- Harmony is extensively modal
- Bars 1-8 and 16-22 has no accidental
- Bars 1-8 and 16-22 has no accidental
- Use of quartal harmony
- Chords based upon 4ths
- Passage starting at bar
23 and coda from bar 66
- Chords based upon 4ths
- Chords are often
created from
added-note harmony
- Triads with added 6ths,
minor/major 7ths as well as
dominant 7ths chords created
from an added 9th, 11th and
13th
- Triads with added 6ths,
minor/major 7ths as well as
dominant 7ths chords created
from an added 9th, 11th and
13th
- Streams of parallel
chords are based
upon a whole tone
scale
- 11-12
- 11-12
- Few formal perfect cadences
- Chromatic passing notes
- 24, 27 etc.
- 24, 27 etc.
- Harmony is extensively modal
- Melody
- Simple melodies
- Generally in
two-bar
phrases
- Generally in
two-bar
phrases
- Much
stepwise
motion
- Simple melodies
- Rhythm & Metre
- The sarabande
has a
characteristic
rhythm,
emphasizing the
second beat of the
bar with a long
note
- The more traditional
sarabande dance
rhythm can be seen in
bars 50-54
- The more traditional
sarabande dance
rhythm can be seen in
bars 50-54
- Many rhythms are two-bar units
- Cross-phrasing
- Metrical emphasis is moved to a weak beat
- 38-40
- Metrical emphasis is moved to a weak beat
- Hemiola
- 67
- Broadening of music
in preparation for
final cadence
- 67
- Simple triple-time
- The sarabande
has a
characteristic
rhythm,
emphasizing the
second beat of the
bar with a long
note
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