Debussy - Sarabande (Pour le Piano)

Jess Button
Mind Map by , created over 5 years ago

A2 Level Music Btec Mind Map on Debussy - Sarabande (Pour le Piano), created by Jess Button on 05/08/2014.

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Jess Button
Created by Jess Button over 5 years ago
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Debussy - Sarabande (Pour le Piano)
1 Instrumentation
1.1 Solo Piano
2 Structure
2.1 Rounded binary form with coda
2.1.1 Non-standard
2.1.2 Ternary form
3 Texture
3.1 Monophonic
3.1.1 5-6, 20-22, 66
3.2 Homophonic
3.2.1 Block chords
3.2.1.1 1-4
3.2.2 Tune and accompaniment
3.2.2.1 10-12
3.3 Many examples of streams of parallel chords and close-harmony textures
3.3.1 35-41
3.4 Gamelan effects
3.4.1 Bare open triads
3.4.1.1 63-64
3.4.2 Open chords based on quartal harmony
3.5 Parallel chords with pronounced parallel 5ths recreate the sound of medieval organum
4 Tonality
4.1 Essentially in C# minor
4.1.1 Key heavily masked by extensive use of modality & quartal harmony
4.2 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.
5 Harmony
5.1 Harmony is extensively modal
5.1.1 Bars 1-8 and 16-22 has no accidental
5.2 Use of quartal harmony
5.2.1 Chords based upon 4ths
5.2.2 Passage starting at bar 23 and coda from bar 66
5.3 Chords are often created from added-note harmony
5.3.1 Triads with added 6ths, minor/major 7ths as well as dominant 7ths chords created from an added 9th, 11th and 13th
5.4 Streams of parallel chords are based upon a whole tone scale
5.4.1 11-12
5.5 Few formal perfect cadences
5.6 Chromatic passing notes
5.6.1 24, 27 etc.
6 Melody
6.1 Simple melodies
6.1.1 Generally in two-bar phrases
6.2 Much stepwise motion
7 Rhythm & Metre
7.1 The sarabande has a characteristic rhythm, emphasizing the second beat of the bar with a long note
7.1.1 The more traditional sarabande dance rhythm can be seen in bars 50-54
7.2 Many rhythms are two-bar units
7.3 Cross-phrasing
7.3.1 Metrical emphasis is moved to a weak beat
7.3.2 38-40
7.4 Hemiola
7.4.1 67
7.4.2 Broadening of music in preparation for final cadence
7.5 Simple triple-time

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