Debussy Prelims Answer Scheme

Question: Debussy is known as an impressionistic composer. Discuss this statement with reference to the Children's Corner Suite. In your answer, refer to specific examples. 1. Harmonic Language -Pentatonic Scales 2nd movement: Jimbo's Lullaby opening theme is made up of pentatonic scale - so mi so la re mi so mi re re mi mi re so mi First phrase in F major and 2nd phrase in Bb major. Both phrases omit the 4th and 7th. This creates an oriental feel which makes the music less European and thus more exotic/ different from the regular romantic/ 20th century sound. -Whole Tone Scale After the first statement of theme C, the LH leaves the ostinato Ab pedal and plays alternating octaves based on the 'A' whole tone scale. Same effect as the above. -Sudden modulations to distant keys In movement 1, sudden key changes to distant keys, for example, C major from E major the tonic key. It then modulates to d minor, eb minor. In movement 4, sudden change of key from d minor to Gb major, which creates a sudden change of the direction of the snow. Use of tritone interval melodic line in unison thus creates a bleak atmosphere, perhaps due to the darkening of skies. -Unresolved 7ths and 9th chords -Major 2nd intervals predominate the movement Existence of the major 2nd interval often interrupts the music. For example, the beginning of the movement where after the first phrase finished, the harmonic 2nd interval makes its appearance. As the interval is dissonant, the music seems clumsy, which depicts the nature of the elephant. This interval is also used at the last return of theme A where it is embedded and also used in the accompaniment. The music ends with the dissonant interval over a tonic pedal. 2. Registers/ Tone Colour -Frequent change of registers for colouristic purposes -Also to change the concept of sound, ie change of one scene to another as in paintings. -Change of register to change the tone colour and thereby scenery In the middle of section B, semiquaver accompaniment is in the RH and first appearance of a low melodic line. Possibly a more dramatic gush of snow than before. (Movement 4) Movement ends at a higher register, indicating perhaps the ending snow fall. (Movement 4) 3. Static -Use of ostinato to create a static atmosphere Ostinato accompaniment in the 1st return of theme A which is made up of descending major 2nd intervals derived from motif B. Accompaniment in theme C also uses ostinato, metrical displacement and on an Ab pedal. Here again the music is stagnant like in impressionistic art. 4. Programmatic : Style of music reflects the title Written in the bright key of E major in a fast but not too fast tempo. Alternating tonic and harmonic 5th interval reminds of plucked lute. Staccato and omission of 3rd creates the hollow and light atmosphere. Omission of the 3rd achieves the creation of a renaissance style. Theme has acciaccaturas which helps in making the music light. The use of pentatonic scale, which limits the number of notes used, hence leads the theme to play with the 3 notes (F#,G#,C#). The improvisatory nature of the monophonic melodic line probably depicting the sound of a shepherd's pipe in movement 5. -A variety of themes are used to create different scenes by which the doll to experience in movement 6 Total of 6 themes are used, each with different accompaniment, different moods. 5. Use of Idioms -Use of other idiomatic influence to also shift the focus (create variety) After the 1st return of theme A in movement 6, a jazz inspired dance prevailed, accompanied by the ostinato rhythm on C#. Jazz idiomatic writing probably due to the doll's origin. -Using layers of sound to depict the layers of snow (Gamelan Influence) Gamelan influence, as the music is organised in layers/ linear. Movement is perpetual and never ending, like falling snow. This is achieved through the opening motif 'ti-do-re-mi' which is further subdivided into semiquavers. (Movement 4) 1st bar begins the 4 note motif twice and is followed by the second layer, a semiquaver beat behind. (Movement 4) A semibreve melodic line beginning on Bb is embedded within the moving semiquavers in the beginning. (Movement 4)   -Variation of accompaniment portrays change of scenery Change of accompaniment from similar motion to contrary motion and further changed to alternating ascending then descending movement to indicate perhaps the direction of the snow fall/dance. (Movement 4) -Use of rhythmic devices and dynamics to vary the never ending accompaniment In section B, the accompaniment is joined by a syncopated pedal, with a cross-rhythmic melodic line in the RH complicates the music. This leads to sforzando dynamic marking. Perhaps to indicate a sudden gush of wind. (Movement 4) The climax of section B is achieved through forte dynamic level with repeated staccato Eb as accompaniment with sporadic sforzando. (Movement 4) Next phrase leads to a change of mood with the help of the change of the tempo to 'plus mouvemente' where its filled with dotted rhythms which conveys a dance-like gaiety in movement 5. -Use of rhythm / articulation / dynamics in movement 6 Rhythm is jazz like - ti-ri-ti. Depict the movement of the doll. Ostinato accompaniment with alternating 5ths and 2nds to indicate continous movement - 'cake walk' Possibly depicting the doll tip-toeing: Use of acciaccaturas and staccatos played in alternation in pp dynamics. Forte marking in the beginning energises the music right from the start. General dynamic level is loud contrasted with soft. Use of contrasting themes to portray the different walking steps. For example, the derivation of 'Tristan and Isolde' theme is contrasted with the staccato acciaccatura theme. The contrast of register from the middle range to the high range also contributes to the contrast.

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