clair de lune poem analysis
Conclude by commenting on whether or not you believe that Music and Visual Art should share an artistic classification such as “Impressionism.” In other words, does referring to “Clair de Lune” (the song) AND Claude Monet’s “Impression Sunrise” (the painting) both as “Impressionism” make sense? The music at this point is in two bar phrases. This texture continues until bar 26. The overall tessitura shifts suddenly upwards at this point. Debussy, C. (1978) Suite Bergamasque. The second half of the theme is sequential, shown by the yellow. Read the essay “Musical Impressionism: The Early History of the Term” by Ronald L. Byrnside from The Musical Quarterly, Vol. The harmonic substitutions can be seen in bar 10; the Gb o7 is changed for a Gb  6 chord. Clair De Lune Poem by Paul Verlaine. At bar 51 the music returns to the opening theme and the start of the final section. Under this, we have more unusual harmony, the harmonic rhythm has returned to the dotted crotchet pulse and what appears to be an A9 chord with a doubled seventh, followed by the progression IV iii and is repeated again in the following bar. ( Log Out /  While the music feels distinctly diatonic, it does not feel rooted in the tonic key of Db major, the key itself remains ambiguous until the final cadence in bar 72, as use of non functional harmony also occasionally implies the relative minor of Bb minor. Instructions The harmonic rhythm at this point has slowed. 66, No. It is the inspiration for the third and most famous movement of Debussy's 1890 Suite bergamasque of the same name. In bar 31-32 we have an imitation of bar 27-28, the rhythm and general contour of the right hand melody is the same. Autoplay next video. The while they celebrate in minor strain The rhythm in voice 1 of the left hand is based upon the end of the rhythmic cell shown earlier. From bar 51-53 a dominant pedal figure is repeated in the bass; which by bar 53 has become a traditionally dissonant 7th of the vi7d chord, this resolves downward to Gb in bar 54, the mediant of the V7c chord. The accompaniment also shows this rhythm in bar 29; in the arpeggio; the return to the previously arpeggiated note occurs on this rhythm. Clair de Lune is a French poem written by Paul Verlaine in 1869. London: Peters, Howat, R. (1986) Debussy in Proportion. An Analysis of Beethoven, Symphony No.1, movement 4. Between these parts, the harmony is arpeggiated and sustained notes in the middle register of the piano can be heard. The upper turns shown in pink on the above diagram originate from the thematic fragments used between movements. Debussy composed different patterns in this piece, decorating it with a sensation of smooth rhythm. We make no warranties of any kind, express or implied, about the completeness, accuracy, reliability and suitability with respect to the information. While the overall structure of the movement is ambiguous, I think the form best fitting the movement is ternary form, extended by a coda created from material originating in section B. The flowing arpeggio is interrupted in bar 67 by a pause on the ic chord. Module 6 Clair de Lune Analysis Essay The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. Materials The movement remains mostly in the tonic, the only modulation occurring in bars 37-42, which means the sections are harmonically closed. An alternative to ternary form could be rounded binary form, again with an added coda. The dynamics at this point is still pianissimo. Clair de Lune, meaning Moonlight, also has the same name as the poem it depicts by Paul Verlaine. Dent & Sons, Nichols, R. (1972) Debussy. This is an artwork that is surrounded by aspects of creativity. This gesture could also be interpreted as opening with chord iii (still with doubled mediant) moving to chord I on the third beat of the bar; however I think this is less likely to be Debussy’s intention because of the use of a Db chord in bar 9 when the phrase is imitated. The choice of compound triple meter for this movement shows the contrast to the dance movements and helps allow Debussy freedom to articulate the music differently. Your soul is as a moonlit landscape fair, Peopled with maskers delicate and dim, That play on lutes and dance and have an air Of being sad in their fantastic trim. The coda now begins in bar 66, the arpeggio figure seen alludes to section B; the first two beats of the bar are taken from the accompaniment in bar 27. The best known part of Suite bergamasque is the third movement, titled "Clair de lune," meaning moonlight. The composition opens in Db major with a tonic chord. The poem has also been set to music by Gabriel Fauré. The second theme of the movement is constructed from the rhythmic cell shown below. In doing this, identify at least TWO basic elements of music described in the Module 6 required textbook pages “The Basic Elements of Music.” Harmonic interest is created in bar 45-46 when chords are played in the right hand over the dominant Ab pedal. Debussy composed different patterns in this piece, decorating it with a sensation of smooth rhythm. The first two bar phrase uses the rhythmic cell shown earlier to create a melodic phrase. The opening F Ab idea re-enters with an ascending octave gesture. This work is majorly grounded on a collection of poems. In addition to the modulation, the texture also changes. The dynamic is marked PPP, which is the quietest dynamic in the piece. To smooth the modulation back to the tonic key, a dominant chord is sustained in the left hand from bars 43-46, over a melody based on the rhythmic phrase seen in bar 37. If you write a school or university poetry essay, you should Include in your explanation of the poem: Good luck in your poetry interpretation practice! There is a poetic device epiphora at the end of some neighboring lines brise is repeated). Change ). New York: Sloan & Pearce, Filed under Essays, Music ( Log Out /  The melody in beats 2-3 of bar 67 is rhythmically simple and is different from the rhythms of preceding themes, but the contour of the melody is the same as the opening of theme 2, seen on the final beat of bar 27. (Howat, R. Page 1). While the general structure ABa fits the music, the form is less likely to be rounded binary because two main themes are used, therefore the music is not monothematic, nor are the sections harmonically open. The use of structure and proportion within the movement is significant; Most important of all, they show ways in which the forms are used to project the music’s dramatic and expressive qualities with maximum precision. While in bar 2 a V7 is used, decorated with a suspension and a upper turn, bar 52 uses a III7 chord, while the music is clearly recognizable as the opening theme, the music has been re-imagined with harmonic substitutions, and new figures for the left hand material. 2. Claude Debussy (1862-1918) composed Clair de Lune, the third movement from the Suite Bergamasque in 1888 (first published in 1903). In bar 50-51 the B section ends with an ambiguous chord, a sustained #V7 sus4d, the dominant feeling of the chord helps expose the tonic key and the section is harmonically closed. Neither mark predominates. Knowing that “Clair de Lune” belongs to a musical school known as Impressionism (based on your research) describe the similarities and differences between Impressionism as an artistic movement (as we learned about in Module 5) and as a movement in music.


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