Instructions Claude Debussy (1862-1918) composed Clair de Lune, the third movement from the Suite Bergamasque in 1888 (first published in 1903). It is important to note that with the exception of the poetically titled Clair de Lune, suite Bergamasque is created exclusively from Baroque movements. The harmonic rhythm at this point has slowed. 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. The positioning within the suite is important; it is the suite’s third movement, and is the lyrical climax of the suite. Change ), You are commenting using your Facebook account. Debussy composed different patterns in this piece, decorating it with a sensation of smooth rhythm. The length of sections sequentially decreases by two bars as shown bellow. 2. This texture continues until bar 26.

The best known part of Suite bergamasque is the third movement, titled "Clair de lune," meaning moonlight. 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. In doing this, identify at least TWO basic elements of music described in the Module 6 required textbook pages “The Basic Elements of Music.”

The last dotted crotchet of bar 36 is written enharmonically to prepare for the modulation at bar 37. The harmonic substitutions can be seen in bar 10; the Gb o7 is changed for a Gb  6 chord. Below this, the bass ascends a third each beat. 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.

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The first half of the theme (blue) is voiced in thirds, but the latter half is not. 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. Re-read Take a Closer Look: Exploring Claude Debussy’s “Clair de Lune” in your textbook.

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Bar 47 reintroduces the rhythmic cell in the right, while a figure derived from it is played in the left hand. Harmonic interest is created in bar 45-46 when chords are played in the right hand over the dominant Ab pedal. Create a free website or blog at WordPress.com. The music continues to ascend throughout this bar, the music rises by a third each beat. 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. In bar 27 we begin the B section; new thematic material is introduced, as is a change in accompaniment; we now have an arpeggio figure in the left hand. Cambridge: University Press, Long, M. (1960) At the piano with Debussy. 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. summary of Clair De Lune (Moonlight On The Bosphorus). The harmony, while compositionally inventive, is still heavily rooted on conventional diatonic harmony; there has been occasional chromatism but the music feels diatonic.

The while they celebrate in minor strain This work is majorly grounded on a collection of poems. Listen for and try identifying at least TWO basic elements of music described in the required Module 6 textbook pages. This is an analysis of the poem Clair De Lune (Moonlight On The Bosphorus) that begins with: La lune était sereine et jouait sur les flots. ( Log Out /  Debussy actually wrote three ‘Clair De Lunes’. Listening task 2: Listen and Write For this task you will need a recording of Debussy’s Clair de Lune from Suite Bergamasque Find Paul Verlaine biography and history on AllMusic became clearly evident in Fauré Clair de lune, his first setting of a poem by Verlaine. It was named after Paul Verlaine's 1869 poem of the same name, which references a …

Beginning in bar 38 we hear a prominent descending chromatic scale in the bass until bar 39 beat 2.

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. This section finishes at bar 65. This is an artwork that is surrounded by aspects of creativity. Module 6 Clair de Lune Analysis Essay The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. The subtle harmonic tension of bar 2 is removed in bar 52, and the music appears far more triadic than before. We make no warranties of any kind, express or implied, about the completeness, accuracy, reliability and suitability with respect to the information. Identify the “mood” of the song. There is a poetic device epiphora at the end of some neighboring lines brise is repeated). The same words la, ni, 'tis are repeated. 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. The dynamics at this point is still pianissimo.

Use the Module 6 Required Readings in your textbook and the Module 6 Online Exploration as your guides for writing this analysis.

Debussy is building tension with a full arsenal of devices to prepare for the climax of the piece. Materials

An ascending left hand figure is introduced in the bar 19.

The second theme of the movement is constructed from the rhythmic cell shown below.

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The choice of compound triple meter for this movement shows the…

An Analysis of Beethoven, Symphony No.1, movement 4.

The overall tessitura shifts suddenly upwards at this point. Now that you’ve carefully examined and researched the work of music, write and submit the finished essay using at least three fully developed paragraphs and at least 500 words, in which you: Describe Claude Debussy’s “Clair de Lune” analytically. A chord of Bb minor is written in bar 71, which is an example of the insecurity of the key, before the tonal ambiguity of the piece is finally removed with the final chord of  Db major chord in 72. New York: Sloan & Pearce, Filed under Essays, Music This rhythm is used in the right hand to form melodies; such as the second theme in bar 27-36, or in the transitional section in bar 39-40. Change ), You are commenting using your Google account. The upper turns shown in pink on the above diagram originate from the thematic fragments used between movements.

The poet used anaphora at the beginnings of some neighboring lines. The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. The harmonic rhythm slows at bar 29, with a sustained I chord moving to II in bar 30. 1. We resume Db major at bar 43. 66, No. The second half of the theme is sequential, shown by the yellow. Module 6 Clair de Lune Analysis Essay

The composition opens in Db major with a tonic chord.

At bar 51 the music returns to the opening theme and the start of the final section.

The accompaniment also shows this rhythm in bar 29; in the arpeggio; the return to the previously arpeggiated note occurs on this rhythm.

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. It is important to note that with the exception of the poetically titled Clair de Lune, suite Bergamasque is created exclusively from Baroque movements. Be sure to use and cite “Musical Impressionism: The Early History of the Term” by Ronald L. Byrnside and/or another essay you have already found and read as a research source article concerning the musical school and movement known as Impressionism. In ternary form, the first and third sections (A) are normally identical, although commonly, the third section will feature more ornamentation than the first section; while the middle section (B) contrasts sharply with it. (Howat, R. Page 1).

In Bar 2 Gb and A; an augmented second, show Debussy’s confident use of unconventional intervals. Neither mark predominates. The music at this point is in two bar phrases. It is worth mentioning that Paul Verlaine’s poem Claire de Lune, which is probably the inspiration for this movement – both the titles Bergamasque and Claire de Lune originate in this poem; is in three stanzas, mirroring Debussy’s use of three sections in this movement.

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