Dent & Sons, Nichols, R. (1972) Debussy. Bar 15 could be interpreted both as the finishing of the previous phrase, making it 8 bars long, or as the start of the next block in material; the change in texture is significant, we now have a homophonic texture.

Bars 5-6 are used sequentially in bar 7-8, the last beat altered to lead into the repeat of the theme in bar 9 with a traditional perfect cadence. Under this, we have more unusual harmony, the harmonic rhythm has returned to the dotted crotchet pulse and what appears to be an A9 chord with a doubled seventh, followed by the progression IV iii and is repeated again in the following bar.

4 (October, 1980), pp. The opening theme of Clair De Lune is derived from music heard in the preceding movements of the suite. In ternary form, the first and third sections (A) are normally identical, although commonly, the third section will feature more ornamentation than the first section; while the middle section (B) contrasts sharply with it. Knowing that “Clair de Lune” belongs to a musical school known as Impressionism (based on your research) describe the similarities and differences between Impressionism as an artistic movement (as we learned about in Module 5) and as a movement in music.

Listen for and try identifying at least TWO basic elements of music described in the required Module 6 textbook pages. Module 6 Clair de Lune Analysis Essay Harmonic interest is created in bar 45-46 when chords are played in the right hand over the dominant Ab pedal. 522-537, published by Oxford University Press here in Module 6. In bar 50-51 the B section ends with an ambiguous chord, a sustained #V7 sus4d, the dominant feeling of the chord helps expose the tonic key and the section is harmonically closed. An Analysis of Beethoven, Symphony No.1, movement 4. Module 6 Clair de Lune Analysis Essay The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. 1. Debussy composed different patterns in this piece, decorating it with a sensation of smooth rhythm. Be sure to use and cite “Musical Impressionism: The Early History of the Term” by Ronald L. Byrnside and/or another essay you have already found and read as a research source article concerning the musical school and movement known as Impressionism.

Bar 47 reintroduces the rhythmic cell in the right, while a figure derived from it is played in the left hand. The dynamic is marked PPP, which is the quietest dynamic in the piece. Now that you’ve carefully examined and researched the work of music, write and submit the finished essay using at least three fully developed paragraphs and at least 500 words, in which you: Describe Claude Debussy’s “Clair de Lune” analytically. The second half of the theme is sequential, shown by the yellow. Create a free website or blog at WordPress.com.

Oxford: University Press, Schmitz, E. (1950)  The Piano Works of Claude Debussy.

To smooth the modulation back to the tonic key, a dominant chord is sustained in the left hand from bars 43-46, over a melody based on the rhythmic phrase seen in bar 37. Change ), You are commenting using your Facebook account. Or is this just an example of Academicians in Humanities making an unnecessary connection?

While in bar 2 a V7 is used, decorated with a suspension and a upper turn, bar 52 uses a III7 chord, while the music is clearly recognizable as the opening theme, the music has been re-imagined with harmonic substitutions, and new figures for the left hand material. 66, No. Identify the “mood” of the song. At bar 51 the music returns to the opening theme and the start of the final section. The flowing arpeggio is interrupted in bar 67 by a pause on the ic chord. The poem has also been set to music by Gabriel Fauré. The bar begins with an ascending iii chord leading into the opening theme, which leaves the dissonant dominant of the previous bar technically unresolved, although because of Debussy’s treatment of the materials the tension feels to have been resolved. 2. The poet used anaphora at the beginnings of some neighboring lines. The harmony, while compositionally inventive, is still heavily rooted on conventional diatonic harmony; there has been occasional chromatism but the music feels diatonic. Debussy is building tension with a full arsenal of devices to prepare for the climax of the piece. The while they celebrate in minor strain Below this, the bass ascends a third each beat. The upper turns shown in pink on the above diagram originate from the thematic fragments used between movements. While the music feels distinctly diatonic, it does not feel rooted in the tonic key of Db major, the key itself remains ambiguous until the final cadence in bar 72, as use of non functional harmony also occasionally implies the relative minor of Bb minor. Neither mark predominates. The choice of chord I is also supported by the left hand for the opening four bars, which implies a chord-a-bar harmonic rhythm. The duration of the F and Ab have been shortened, and the final beat of the bar has been changed to an octave F. The tonal ambiguity of the music is also highlighted with the lack of a Db in the opening bar; implying the chord is now an F minor, rather than a tonic with a doubled mediant. If you write a school or university poetry essay, you should Include in your explanation of the poem: Good luck in your poetry interpretation practice!

Instructions This texture continues until bar 26. London: J.M. The overall tessitura shifts suddenly upwards at this point. Thematic Fragment as it appears in the Prélude: Thematic Fragment as it appears in the Menuet: Theme 1 is created from various constituents. This is an analysis of the poem Clair De Lune (Moonlight On The Bosphorus) that begins with: The information we provided is prepared by means of a special computer program. Beginning in bar 38 we hear a prominent descending chromatic scale in the bass until bar 39 beat 2. Your soul is as a moonlit landscape fair, Peopled with maskers delicate and dim, That play on lutes and dance and have an air Of being sad in their fantastic trim. The subtle harmonic tension of bar 2 is removed in bar 52, and the music appears far more triadic than before. From bar 51-53 a dominant pedal figure is repeated in the bass; which by bar 53 has become a traditionally dissonant 7th of the vi7d chord, this resolves downward to Gb in bar 54, the mediant of the V7c chord. The right hand chords in this section should be seen as a melody, the harmony is in the bass part of the left hand. Clair de Lune, meaning Moonlight, also has the same name as the poem it depicts by Paul Verlaine. This is an analysis of the poem Clair De Lune (Moonlight On The Bosphorus) that begins with: La lune était sereine et jouait sur les flots. It is the inspiration for the third and most famous movement of Debussy's 1890 Suite bergamasque of the same name. Use evidence from “Clair de Lune” and your exploration of Impressionism to support your arguments. At this point we have now subtly changed dynamic to piano from pianissimo; while we have seen crescendos and diminuendos written into the score, along with hairpins in bars 13, 14, and 29 this is the first marked change in dynamic. New York: Sloan & Pearce, Filed under Essays, Music We see a prominent forte at bar 41, from a dynamics perspective this is the climax of the piece. The coda now begins in bar 66, the arpeggio figure seen alludes to section B; the first two beats of the bar are taken from the accompaniment in bar 27.

The composition opens in Db major with a tonic chord. The music continues to ascend throughout this bar, the music rises by a third each beat. On a superficial level, the overall structure of ternary form; A B A, fits the structure of the movement well. The punctuation marks are various. The best known part of Suite bergamasque is the third movement, titled "Clair de lune," meaning moonlight. The author used lexical repetitions to emphasize a significant image; la, de, qui, tour, ni, du, no are repeated. The rhythm in voice 1 of the left hand is based upon the end of the rhythmic cell shown earlier. The positioning within the suite is important; it is the suite’s third movement, and is the lyrical climax of the suite. Like most of Verlaine's poetry, it's short so I've given you a few translations: Claire De Lune Your soul is as a moonlit landscape fair, Peopled with maskers delicate and dim, That play on lutes and dance and have an air Of being sad in their fantastic trim.

Leave a comment. The length of sections sequentially decreases by two bars as shown bellow. This rhythm is used in the right hand to form melodies; such as the second theme in bar 27-36, or in the transitional section in bar 39-40. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Debussy’s ‘Clair De Lune’: Masterpiece Guide Featuring Lang Lang. There is a poetic device epiphora at the end of some neighboring lines brise is repeated).

A chord of Bb minor is written in bar 71, which is an example of the insecurity of the key, before the tonal ambiguity of the piece is finally removed with the final chord of  Db major chord in 72. The harmony at this point is therefore; I III bIIIb. In addition, Clair de Lune is compositionally, the most adventurous piece of the suite.

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