The first observation to make here is that a Locrian modality seems strongly suggested. Reflets dans l’eau by Debussy from Images Book 1. In his tumultuous home environment, the young eight year old Debussy was Satie’s famous. Example 1: Arabesque theme c. Analysis The arabesque theme marks the onset of Rotation 1 (example 2) and establishes the key of Bb minor. In music, arabesque refers to the use of three compositional devices: These devices act as the curlicues that extend from each musical idea and intertwine with one another. Performers, don’t overly exaggerate the melody, but also don’t let it get lost in the accompaniment. Debussy arabesque 1 analysis essay - missleightonlondoncouk Arabesque essay analysis Debussy 1 Debussy arabesque 1 analysis essay - lbfamilyreunioncom Debussy arabesque 2 analysis essay - staypurrfectcom Uk companies act 2006 strategic report essay ... Debussy, Arabesque No1 Harmonic analysis … “Exploring melodic sensibilities in a world of music”. 2001.9. Grout, Donald Jay, and Claude V Palisca. Harmonic Ingenuity of Debussy: Part 2 (harmonic analysis for the thinking musician). Tags: Arabesque No.1, Debussy, Harmonic Analysis, Melodic Minor, Pitch Class Analysis, Hello! This now supports Csharp in the fl ute melody as a strong dissonance. Once more, it doesn’t adhere to any of the above suggestions for modal or harmonic implications, but there are some interesting observations to make. We’ll talk a little more about the importance of harmony in the order of events when we look at growth. T he Claude Debussy First Arabesque, composed in 1888 in the key of E major, is like an arabesque, an ornamental design consisting of intertwined flowing lines. Claude Debussy was born in France in 1862 into a poor family, but his economic status didn’t deter him from music. Forms come down to noticing how many times an idea repeats and in what keys these repeats occur. Born on August 22. n, 1862 to Manuel and Victorine Debussy, he suffered from an unstable family life with his father sparsely present in his early years and the outbreak of the Franco-Prussian War (Lesure 1). Any of these resolutions could be to a Major, Minor, or indeed, any kind of tonality at all. 2001.4. Let these ideas be a part of you as you seek to create your own magic by playing these pieces on the piano or by composing similar pieces. 1. 1988. Tags: Analysis, Arabesque No.1, Debussy, Pitch Class. Then he’s got some harmonic exploration with some chromatics (chords that are not part of the key, E major), and this section winds down with an E suspension to an E major. AU - Pomeroy, Boyd. Glad you enjoyed it! After this, at the end of the first full section (mm. It is a straightforward piano work in ABA form with functional chord progressions and no unusual textures. LIKE 3 View Download PDF: No.1 – Complete Score ( Ko) Sheet central: Deux Arabesques (18 sheet music). Polyrhythms are rhythms that don’t divide easily into each other that are sounded simultaneously. Claude Debussy: Arabesque No.1 Context. 1, Twinkling Possibilities: Performance Tips and Theory Tidbits for Mozart's 12 Variations on 'Ah vous dirai-je, Maman,' Part 1, 5 Ways to Avoid Frustration While Practicing an Instrument, Harmonies that rapidly change without urging the piece forward. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. This cadence contains a root motion of a rising semitone and a harmonic motion of a tritone. Gerluz. We feel our way back as the section ends with an E suspension that resolves to E major. “Impressionism” was first used to mock Monet’s painting, Impression, Sunrise, pictured below.3. Of course, Debussy pulls the harmonic rug out from under us once again before we finally reach the new key centre.. but that’s a topic for another blog post! Debussy, Claude. PY - 2003/1/1. Two great editions with helpful fingerings and historical notes: Henle | Alfred. 1. 2. Now that you have a better idea of what makes Debussy’s work sound magical, go look at some of his other pieces like Clair de lune and see if you can identify the same ideas. Its descent, or fall, is what drives the piece forward, which is why, despite being built from a still scale, Debussy cannot end the piece with this motif. These cadences begin from the fourth bar of this score: Let’s first discuss briefly the chord that each resolution starts with. TY - CHAP. Another characteristic of Debussy’s music – and impressionist music in general – is that he frequently uses whole-tone and pentatonic scales, which pair well with his unconventional use of harmony. A-graph of the melody of the Prélude. The ending of this movement is one of Debussy’s best moments. The most obvious ones to pick from being one tone down, one semitone up, a major third up or a perfect fifth up. 3. 14-16 ), the harmony alternates between F# maj7/C# and A# maj7 before leading back to the figure in A major that begins the piece. For composers, the takeaway is that one way to create magical pieces is by stilling the movement of time by repeating two chords. An F# Dorian mode is suggested by the resolution and it seems to be a reasonably diatonic movement. Some of the most obvious modes and tonalities that it could imply (assuming that it implies a tonal centre at all) include: Altered, implying a Melodic Minor modality a semitone higher, or a potential 5->1 resolution to Minor or Major (or indeed, any) tonality a perfect fifth or semitone (via tritone inversion) below. It can also help you memorize the piece as a whole because you know what’s coming next. Feel the back and forth of the harmonies, the leading of his melodies, his complex rhythms that aren’t over the top. A Music Animation Machine video of Debussy’s Arabesque No. Composers, you don’t need to throw in crazy fast rhythms in order for a piece to sound super complex and awe-inspiring. This is of interest to me because Debussy was a brilliant composer who also had a great interest in and drew a lot of inspiration from the melodic traditions of cultures who’s music he encountered in his life. Claude Debussy (1862-1918) Claude Debussy had a huge influence both in his native France and on European composers more generally. At the age of 11, he entered the Paris Conservatory to study piano.1 He’s remembered as a “quiet revolutionary” for his role in “breathing new life” into the music of the nineteenth century.2 The term “impressionism,” commonly used to describe the music of this era, first found its roots in the visual art of Claude Monet. This 55-minute video lesson explores an in-depth look at Arabesque No.1 by Claude Debussy. The theme consists of two main elements: a descending scale which outlines the sixth Bb-Db, and a complete neighbor motion Bb-C … In music analysis, the category of growth many times covers the topic of the form of a piece, such as sonata-allegro, rondo, or strophic. Other than this polyrhythmic figure, however, the rhythm is gentle throughout the rest of the piece. Although she may spin to the music, she doesn’t go anywhere or tell a story. Example 1 Tonally, this chord of resolution – Debussy notated it as Bfl at7 of course – is the root-position dominant of Dsharp, and more of it will be heard very soon. At the age of 11, he entered the Paris Conservatory to study piano.1, He’s remembered as a “quiet revolutionary” for his role in “breathing new life” into the music of the nineteenth century.2 The term “impressionism,” commonly used to describe the music of this era, first found its roots in the visual art of Claude Monet. Another melody of note comes from the very beginning, the first two measures: At first, it seems like the melody is quick, like it could be every note in every triplet, but at its second entrance, we get a better glimpse at the actual overlying melody. And it's so, so simple. Indeed, the next chord in the harmonic progression is an E7/B, and although the harmony is interpolated by a Bm7, the next root motion is to a very clear A7 chord, creating a complete VI7–>iim7–V7–>I7 cycle of fifths. The ‘un’ tritone inverted version of the altered chord would be rooted on an F#; when considered like this, the previous F#m7/C# can be looked at in new light. Satie’s famous Gymnopédie No. 2. A-graph of the melody of the Prélude, simplified by enharmonic 22 August 2016, 17:14 . Debussy in Performance, New Haven: Yale University Press, 1999, 225-255. “Impressionism.” Grove Music. Brown, “Tonality and Form,” 128. You have only to listen. The takeaway here is that despite sounding more atmospheric than most classical motif-driven pieces, melody still plays a fundamental role in this piece. Instead, as F.W.J. It’s tough to determine a key here; according to the key signature, it’d be A major or F# minor. In this post, we’ll dig into his Arabesque No. “Impressionism” was first used to mock Monet’s painting, Impression, Sunrise, pictured b… Ibid., 128.7. In popular culture. 1 in E major: Figures Unfolding Pianist Henrik Kilhamn looks at Debussy's 1st Arabesque in E major. About 'Arabesque No.1' Artist: Debussy, Claude (sheet music) Born: 1862 , St Germain-en-Laye Died: 1918 , Paris The Artist: Among the most important 20th century composers, and the most influential. A harmonic analysis of Clair de lune by Claude Debussy, in case you've ever wondered what the chords to this piece are. The takeaway for performers is that understanding the repeated harmony patterns can help you learn the piece much quicker, especially the left hand arpeggios, as there are plenty. The transposed sequence continues into the repeat of the B# b5 #5 before breaking the pattern by cadencing via the same root motion to Bm7; the first root position voicing in this series of resolutions. I will be sharing my progress and posting thoughts which present themselves throughout the process via this blog! After this, however, what occurred on the first page happens again almost identically, and we as audience members wonder if the piece is coming to an end, or if this is just another pause before another section of exploration. Schelling puts it, these devices create “frozen music.”9. 4 Debussy to Dukas (concerning the Nocturnes), 11 February 1901: ‘Il est même inutile que la musique fasse penser! 4. New York: Norton, 793.5. Debussy arabesque 1 analysis essay - easyyardsalesinfo Debussy arabesque 1 analysis essay - cbsechampscom Deux arabesques analysis essay - stgeorgevacationhomecom How to Play and Teach Debussy - stevepurcom Arabesque Analysis - scribdcom Debussy First Arabesque Amplified - Grand Piano Passion Debussy, Arabesque No1 Harmonic analysis work in. 1 early in his career, around 1888, a couple of years before Clair de lune. Arabesque No. There is more harmonic exploration, but eventually we get back to the familiar bookend idea of the first measure. If you look carefully you’ll see an A within the first triplet, a G# within the third triplet, an F# within the first triplet of the second measure, and an E within the third triplet of the second measure: It’s possible that Debussy had this descending motion in mind and simply added the triplets as the accompaniment after writing the half-note melody and used this to start out for an air of added mystery. Notice how Debussy uses both extremes of the keyboard. Create a free website or blog at WordPress.com. This post looks at how Debussy composed this music and what that has to do with being a performer of his music as well as being a composer who would like to create similar music. It is also a very diatonically stable chord, the most likely tonal centre at this point of the piece is in the bass of the voicing and the chord itself, ‘A Major 7’ (with a #11 implied by the #5 of the previous chord) is the diatonic four chord in the key. There's a moment of pure harmonic inspiration in the composer's Clair de lune. It certainly seems closer to F# minor, but this is definitely a developmental section that explores even more than the previous section. Y1 - 2003/1/1. For a recent view of the arabesque, see Jann Pasler, ‘Timbre, Voice-Leading and the Musical Arabesque in Debussy’s Piano Music’, in: James Briscoe (ed.) Claude Debussy’s music creates magic wherever it goes. 1 by Stephen Malinowski. Debussy's Arabesque No.1 in E Major was written as a piece for the solo piano in the late Romantic period. Brown, Maurice J. E. and Kenneth L. Hamilton. . Claude Debussy was born in France in 1862 into a poor family, but his economic status didn’t deter him from music. 6 A) Introduction 8 B) Scales 8 C) Modes 12 D) Chords 17 E.) Scales, Modes and Chords : A summary of their overall effect on Debussy's melody and harmony. Endorsed by Madame Claude Debussy "It is so rare to hear and interpretationso scrupulously exact and comprehensive" Published by Schroeder and Gunther, Inc. NewYork 1932 Concerning Pedaling Concerning the Piano Examples Approaching Debussy The suite is one of the very early impressionistic pieces of music, following the French visual art form. 4, The Selection: How to Pick Piano Repertoire to Increase Momentum and Avoid Frustration, Creating Magic: Debussy's Arabesque No. Locrian, implying a Major modality a semitone higher, or a potential 2->5->1 resolution to Minor or Major tonality a tone or minor sixth below. Arabesque #1 Another key observation here is that all the voicings in this passage contain a close interval in the middle register, thus giving incentive for the fifth in the bass which places the major 7 and root in the middle of the voicing whilst maintaining the timbral qualities of the previous resolution. The name stuck for its succinct way of describing Monet’s style overall and went on to describe the music coming into vogue at the time. Debussy composed his Arabesque No. 2 (19931001): 127–43.3. Scored for 4 C flutes, alto flute, and bass flute, this arrangement also includes optional parts for bassoon or cello to add to the bass sound if desirable. T2 - A formal perspective. It is of significant that just 16 bars following this sequence later there is a key change to A Major: a perfect fifth down from the home key of E Major. The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891.. For example, he wrote at length to rally against the “musical establishment and conventional compositional practice.”5 He questioned the reasoning behind traditional compositional rules like the avoidance of parallel chords and chromatic exploration.6 He even questioned consonance and dissonance: “Nothing is more mysterious than a consonant chord! Debussy rejected these traditional forms, so luckily we don’t have to go into the history of all of these and their many evolutions.10. I enjoyed reading this article and appreciate the images you used as well! Pleasure is the law’. The harmony is a repeat of the cadence of bar 19, albeit transposed down by a perfect fifth. An analysis of four dances will reveal how the distinct rhythmic and metric profiles of arabesque melodies portray characters and their narratives. For composers, the takeaway is that one way to create magical pieces is by stilling the movement of time by repeating two chords. For Debussy’s Arabesque No. This is where many students who haven’t had time to learn the entire piece before a recital will stop. N2 - Debussy as a tonal composer: reception and stylistic evolution There are many possible ways to approach the question of Debussy's tonality, which over the last fifty years has inspired an unusually diverse range of critical and analytical viewpoints. Yet there’s more in the music then its contours. Elements of correlation Pour les arpeges composes (1915)/ Claude Debussy, and the last song I listened to was Steady Study on the Boogie (1993)/ Cops Problem SolvingCops Problem Solving The fifth in the bass also alludes to the parallelism which is very prevailant in compositions from the expressionist era; see for example the four bars preceding for another occurrence of diatonic parallel voicings. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions. Also of importance to note is that these tactics do nothing to propel the piece forward. He developed a highly original system of harmony and musical structure that expressed in many respects the ideals to which the Impressionist and Symbolist painters and writers … I’m going to talk about the ‘five unique cadences’ previously mentioned in theoretical terms, and I’m going to discuss the harmony ‘somewhat’ abstractly of any overarching cultural and harmonic implications of the piece as a whole. Claude Debussy. We can’t know if we don’t ask him, but it’s certainly an artistic choice we can consider. This purpose of this post is to look a little deeper into the theory I made reference to in the last one. Debussy illustrated signs of innovation from an early age. 22 CHAPTER III ANALYSES : The Main Tonics of Each prelude This piece’s technical difficulties mostly lie in its polyrhythms! Analysis Essay Arabesques Deux Debussy. Click to share on Facebook (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on Tumblr (Opens in new window), Book Review: Emotion and Meaning in Music by Leonard B. Meyer, Countdown to 2020: The Top 5 Posts of 2019 – Girl in Blue Music, The Power of Chopin's Prelude in E Minor, Op. Depressing all the notes in a major pentatonic scale at the same time sounds pleasant (like when you tell a kid to just play on the black notes, because they don’t sound bad together). “Claude Debussy,” Biography, accessed July 2, 2019.2. Recall the first two measures and its simple melody that we discussed in the melody portion of this analysis: This and the later versions of it, with the half-note descending scale, act as bookends for each section of music. 1 is an easy piece to improvise over if you’re looking for somewhere to start, but you can just as easily use the left hand of measures 6 and 7 of this arabesque to practice writing over. “A propos de ‘Muguette’.-Au Concert Lamoureux,” Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155.8. Composed between 1888-1891, Claude Debussy’s set of two arabesques were some of the composer’s earlier works. Looking at measure 6 again (pictured above), if you put the notes in order from the low E to the higher E, you get E, F#, G#, B, C#, and back to E: This is a major pentatonic scale (steps 1, 2, 3, 5, and 6 from a regular major scale), which doesn’t inherently possess a desire for motion, as it doesn’t contain the leading tone. Over the next month for my Masters Degree studies, I am going to be performing an in depth analysis of Debussy’s ‘Arabesque No.1’, [I’m testing out a new app to post updates from my phone, bear with me if some of the links don’t work]. In every entrance after the first one, we see a descending series of half notes: A, G#, F#, E: a lovely and simple melody that was actually hidden in the beginning. 1 was the theme music to PBS’s show Jack Horkheimer: Star Gazer. An arabesque in ballet is a position in which the standing foot goes on point, the working leg is rotated outward and extended back behind the dancer, and the arms stretch equally outward, like the curlicues of the ornamental pattern. It almost feels like the piece could end here – indeed I’ve heard a few younger students’ recitals in which the performer would stop here – but the piece does go on, in a different key, B minor in the harmony. Repetition of the ... 26 – 27 Restates Bars 1 – 2, with a variation in Bar 27 but ending as before on B♭. Additionally, the root motion and modal implication set up the first transposed instance of the ‘m3b5#5’ chord. The style more closely resembles some of Debussy’s later works. We have this as the very beginning of the piece, followed by the polyrhythmic main theme of the piece that we looked at in the harmony portion of this analysis. Example 1.1 Fig. Title 1, L. Simone Renzi. Fig. Firstly, sharing three notes the ‘resolved’ chord is very similar in its makeup to the previous one. It isn’t accounted for tonally by any of the above options, but considering the chromatic root motion immediately preceding and following in addition to wide variety of implied modal and harmonic possibilities for an ascending semitone, the strong implication of an Emajor/C#Minor tonality by this point in the piece and Debussy’s well known affinity for ‘non functional harmony’, it is highly probable that he chose this chord for its timbral qualities. August 8, 2013 Harmonic Ingenuity of Debussy: Part 2 (harmonic analysis for the thinking musician) This purpose of this post is to look a little deeper … These are what make his melodies sound so airy: there’s a lot of space in between each note. The motion then, comes from the melody itself. Remember that the melody gives it a direction. On the other hand, Debussy had a Following this is a clear key change; even the key signature changes to A major or F# minor, and the overall mood changes: The tempo here is marked “rubato,” meaning freer, so the overall mood is more thoughtful than flowy as before. For example, in the main theme that that first appears in measure 6, the left hand arpeggiates an E major chord, then C#/E, back to E major, then C#/E again. It frequently draws new students to the piano with the desire of playing his most famous pieces like Clair de lune and Arabesque No. Questions about the nature of tradition like this motivated Debussy to create the new music that is so distinct and ethereal to our ears today. There aren’t any crazy 32nd notes, trills, or anything truly fast. After this, the first part of the piece repeats almost identically, so other then some lovely extended chords in arpeggios spanning used to slow the piece to a close, we don’t have anymore harmony to look at. Then, we have the beginning figure again, except with the half-notes overtop of it: This is followed by an exploratory section, where there isn’t a clear key center. 28 No. results of the analysis are presented in Table 1 and discussed in more detail below. Debussy Arabesque no. This cadence contains a root motion of a falling tone and a harmonic motion of a rising minor third. The transition into the impressionist style required Debussy to have strong opinions and to stand by them. In challenging preconceptions of ornament as marginal and meaningless, this essay shows how arabesque became endowed with structural and expressive significance at the début du siècle. Analysis of Syrinx, pour flûte by Debussy The structure of this piece seems to be very free, almost like an improvisation. If you liked this post, be sure to hit that like button and subscribe below. Additionally, Dr. Josh Wright also has a helpful 55-minute tutorial that covers “tone quality, creating color, melodic and harmonic shaping, how to properly execute 2 against 3 polyrhythms, variety in shaping similar musical figures, interpretation, long lines, creating space and atmosphere within the lines, and impressionist stylistic elements to help you become as efficient as possible in your practice sessions” — he describes the more technical aspects of playing this piece in video format that I simply can’t in a written format like this! is an easy piece to improvise over if you’re looking for somewhere to start, but you can just as easily use the left hand of measures 6 and 7 of this arabesque to practice writing over. Passler, Jann. This cadence contains a root motion of a rising semitone and a harmonic motion of a tritone. Locrian (natural 2), implying a Melodic Minor modality a minor third higher, or a potential 2->5->1 resolution identical to the ‘Major key’ Locrian mode. Appendix B—Approach to Melodic Analysis Debussy’s use of Sameness and Continuity in Melody Fig. She merely uses her presence to create a whimsical and peaceful mood. Often dubbed a musical impressionist, but his music always has a strong sense of form. The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. 4th ed. The first in particular has remained a popular piece amongst audiences and performers alike. The First Arabesque has strong antecedents in Bach. Pre-Gamelan works Danse bohémienne Danse bohémienne, written when Debussy was 18 years old, displays no unusual characteristics. Back in measure 6, the two against three polyrhythm gives the piece its whimsical and buoyant feel, like an autumn leaf gently gliding to earth or a music box ballerina poised in an arabesque and spinning away. Ibid.10. Thus, impressionist music is similar to program music, but instead of expressing deep-seated emotion, impressionism expresses a single mood or “fleeting sentiment.” This is why Debussy’s music is frequently described as atmospheric or magical. Arabesque no. It is interesting to note how Debussy uses this F#m7/C# chord as a ‘pivot’ for harmonic modulation here. After a build-up beginning at 3:00, the sound fizzles out via whole-tone scales (a type of scale consisting of only whole steps, 3:56) into some lush chords. Let’s look at these cadences one at a time. That one section of polyrhythms is impressive on its own, so Debussy allows that one to shine by diminishing the rest of the rhythms. In this early and famous work, beautiful figures and patterns unfold in lines up and down over the piano register. Debussy’s anti-establishment attitude can be seen in a conversation that he was reported as having with a professor from the conservatory: ‘There is no theory. 1.2 Ravel’s String Quartet first movement bar 24-26 All of these similarities made the quartet almost judged as plagiarism and Ravel was heavily claimed as Debussy’s imitator. Harmonic Analysis of Debussy’s Prélude à l’Après-midi d’un faune. Arabesque 1 Debussy, C. Musicians Publications presents Claude Debussy's Arabesque I arranged for flute choir plus by Kris Dorsey. Composers, let the melody lead, even if it is as simple as a series of half notes descending by step, and embellish and arrange it later. The one simple chord that shows Claude Debussy was a harmonic genius. Because the Arabesque was written by Debussy, the piece indicates the beginnings of the impressionistic music; however, because impressionism itself stems from Romanticism, it retains many Romantic qualities. The tempo is marked andantino con moto, which means “a little faster than walking pace with motion.” Thus, performers, this is not a race, don’t play it as fast as you can just because you can. The B# b5 #5 arrives smoothly from the preceding F#m7/C# chord by the same root motion and a very similar harmonic (the transposed relative minor) motion to how the F* b5 #5 is approached, we then hear the same chord in a new light as it ‘rocks’ back to the F#m7/C#, a sound which the ear has been prepared for in bar 19. This four note voicing contains (on top of the root) a ‘b3/#9’, ‘b5/#4’ and ‘#5/b13’. The arabesque is a term originally used to describe architecture or painting that featured complex ornamental designs that trailed off into curlicues that could connect, such as in tile work. Tag Archives: Arabesque No.1 August 8, 2013 Harmonic Ingenuity of Debussy: Part 2 (harmonic analysis for the thinking musician) This purpose of this post is to look a little deeper into the theory I made reference to in the last one. C) Harmonic Tonality 4 CHAPTER II SCALES, MODES AND CHORDS : Their Relationship to Melody and Harmony in the Preludes of Debussy. Music is a magic that can change the world. If the piece were longer, I imagine Debussy might have included this idea as chapter headings for each episode, but it is a fairly short piece overall, so he ends here with a delightful and cheery coda section built of the material from the beginning: The entire piece ends clearly with a repeated E major triad, so although Debussy didn’t use traditional functional harmony, we definitely feel “home” when we get to the end. Sure to hit that like button and subscribe below 11 February 1901: ‘ Il est même inutile que musique. 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Ute melody as a ‘ pivot ’ for harmonic modulation here Impressionism ” was first to!, Debussy, Pitch Class analysis, Arabesque No.1, Debussy, harmonic analysis for the thinking musician.. European composers more generally “ Claude Debussy had a huge influence both his. One at a time repeats and in what keys these repeats occur in up. This post, we ’ ll dig into his Arabesque No can t! Twenty-Four preludes written by Claude Debussy, Pitch Class in ABA form with functional chord progressions and No characteristics! Years before Clair de lune and Arabesque No Debussy in Performance, New Haven: Yale Press! T divide easily into each other that are sounded simultaneously Figures Unfolding Pianist Henrik Kilhamn looks at Debussy Arabesque. A recital will stop an early work, the root motion of a tritone performers alike will.: their Relationship to melody and harmony in the last one appreciate the Images you used as as. Takeaway here is that despite sounding more atmospheric than most classical motif-driven pieces, melody still plays a fundamental in... Yet there ’ s show Jack Horkheimer: Star Gazer for composers, arabesques. Ll dig into his Arabesque No, Claude Debussy ( 1862-1918 ) Claude Debussy had huge... Its contours importance of harmony in the composer 's Clair de lune at Debussy 's Arabesque i arranged flute. And modal implication set up the first full section ( mm tumultuous home environment, the young eight old. Semitone and a harmonic motion of a tritone Debussy to have strong opinions and to stand them! Contains a root motion of a rising semitone and a harmonic analysis of Syrinx, pour flûte by Debussy Images!
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