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Form
* Not really development or any of the classical formal plans, mostly different sections with themes keeping it together
*De l'aube a midi sur la mer
Introduction (Bars 1 30) (B) First Section (Db)
Theme 1A (Bars 31 46)
Theme 1B(Bars 47 52)
Closing Phrase (Bars 53 58)
Theme 2 (Bars 59 75)
Closing Phrase (Bars 76 83)
Second Section (Bb)
Theme 3 (Bars 84 97)
Variation 1 (Bars 98 104)
Variation 2 (Bars 105 111)
Theme 4 (Bars 112 121)
Closing Phrase (Bars 122 131)
Coda (132 141) (Db)
* Jeux de vagues
First Section
Introduction (Bars 1 8)
First Theme (Bars 9 27)
Closing Phrase (Bars 28 35)
Second Section
Second Theme (Bars 36 47)
Bridge (Bars 48 59)
Third Section (Bars 60 71)
Fourth Section (Bars 72 81)
Fifth Section (Bars 82 91)
Sixth Section (Bars 92 103)
Seventh Section (Bars 104 117)
Variation on First Theme (Bars 118 123)
Eighth Section (Bars 124 146)
Ninth Section (Bars 147 162)
Tenth Section
First Theme (Bars 163 186) Second Theme (Bars 187 208) Closing Phrase (Bars 209 218)
Coda (Bars 219 - 251)
Uses them on top of each other while staying in one tonal center.
Very simple and plain harmony, prefers close connections, doesn't follow classical harmonic theory, especially with chord
connections and cadences, the harmony serves the scales and melody, they're almost always the most important
The connection between introduction and first part, B > Db, Debussy uses extremely close harmonies while changing the
orchestral texture,
Another example of harmony serving to scales, between first and second themes of first section, first movement, the move
is foreshadowed by the scale used while modulating to E, both ignoring and using the scale.
With this he still has I-V and a horizontal movement, blurring the harmony and melody, creating a unique texture again
Usage of tritones in the third movement, intervallic themes, bars 187 195,
The Major 2nd interval and Ab-Bb, used throughout the entire piece. Functionally adds vagueness to the Db chord, can be
seen at the end of movement 1/3, not really being solved in the first one but finally getting solved at the end
The thematic material also use Ab-Bb as the main building block, especially in the first movement:
Usage of rhythm is also important like the melodies, sometimes referencing the melodies just with the rhythm, near the end
(bar 237) of the third movement
Debussy also uses rhythm to have a constant flowing sound, going between instrument while keeping the rhythmic motor
active,
The orchestration is very standard instrumentation-wise, double orchestra, each section has their conventional uses,
string are used as a dynamo, longer notes in the brass, wind instruments alternate between the two, etc. Generally uses
divisi with string have a richer sound
Uses sul tasto and ponticello with strings, also uses surdine with strings and the brass
-The Rest
The music is very segmented, but it is kept together by the usage of tonal centers and melodies/scales. Some themes can be
seen between movements, also keeping the whole piece together. The intervals Ab-Bb and Major 2nd, their usage in themes
and small motivic movements in the piece
The piece wasn't received very well, it was criticized for defending traditions by some critics, however later peoples and
critics opinions on it improved
An important milestone for impressionism, Toru Takemitsu says he's his first teacher and does Quotation of Dream: Say
Sea, Take Me! on a theme from La mer.
Recordings of Karajan (Philharmonia Orchestra) and Boulez (New York Philharmonic), basically same but Boulez stays
more true to the harmony.