|Country:||Moldova, Republic of|
|Published (Last):||27 April 2008|
|PDF File Size:||3.42 Mb|
|ePub File Size:||19.95 Mb|
|Price:||Free* [*Free Regsitration Required]|
This shows Debussy at his closest manifestation of musical impressionism. It is characteristic of Debussy in its form, harmony, and content. Debussy uses mainly pentatonic modesprimarily the mode C-D-E-G-A, moving this mode through several tonics.
Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways. Recorded by pianist Ivan Ilic in AprilParis. Also performers create a ringing bell sound by instantly releasing pedaled notes. A second theme theme 2appearing for the first time in measuresrepeats in measures Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean measures and the organ is heard once more, but from underwater.
For example, some performers use their full body weight to depress keys to create a rich sound. Knopf, Apparently a re-engraving of the Durand score above. Inexact parallelism allows the quality of the harmonic intervals to vary throughout the line, even if the interval sizes are identical, sehet exact parallelism the sizes and cathedrald remain the same as the line progresses.
Through application, tonal ambiguity is created that is often seen in Impressionist music. These file s are part of the Werner Icking Music Collection. The nearly symmetrical form of intro-ABA-outro helps illustrate the legend that Debussy is alluding to in the work, and his markings help point toward both the form and the legend. Performer Pages Paavali Jumppanen piano.
In measure 13, the G idea returns for two bars. This section does not cite any sources. For example, motif 1 appears in the bottom of the right-hand chords on the 2nd, 3rd, and 4th quarter notes of measure 14 D-E-Band again in the next three quarter note beats D-E-B.
Performer Pages Heather W. The melodic statement here mudic C major is the climax of the piece. Retrieved 24 July It was arranged for orchestra by Leopold Stokowski as The Engulfed Cathedral and released in a recording in To begin the piece, Debussy uses parallel fifths. La Cathedrale engloutie 5: First, it brings back material from the middle of the A section, again centered on Cbut now in c minor.
Problems playing this file? Kate Cook, Musical Style and Genre: It begins in measure 28 and introduces a diatonic key for the first time, the key of C major.
La cathedrale engloutie
Each larger section can be further divided into smaller sections and themes, which are arranged to give the piece a roughly symmetrical structure. The A section can itself be divided into three smaller sections: a1 m. The introduction of the piece a1 features the G major pentatonic collection in ascending block chords evocative of organum chant with lots of parallel fifths. This motif repeats itself twice, but each time the bass moves down a single step, so that the first repeat of the motif takes place over an F in the bass and the second repeat over an E. This changes the collectional center of the opening to the relative E minor pentatonic. The top note of this motif, an E, is held in octaves and repeated, evoking the sound of church bells.
Préludes, Livre 1 (Debussy, Claude)
Free popular sheet music for amateur musicians and learners!
La Cathedrale engloutie