The harmony, while compositionally inventive, is still heavily rooted on conventional diatonic harmony; there has been occasional chromatism but the music feels diatonic. In addition, Clair de Lune is compositionally, the most adventurous piece of the suite. Comments & analysis: Your soul is as a moonlit landscape fair, / Peopled with maskers delicate an. 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. What kind of “Impression” does it give you? The opening F Ab idea re-enters with an ascending octave gesture. 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. It is the inspiration for the third and most famous movement of Debussy's 1890 Suite bergamasque of the same name. 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. The upper turns shown in pink on the above diagram originate from the thematic fragments used between movements. The punctuation marks are various. The right hand chords in this section should be seen as a melody, the harmony is in the bass part of the left hand. Identify the “mood” of the song. The same words la, ni, 'tis are repeated. Instructions The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. In addition to the modulation, the texture also changes. Bars 5-6 are used sequentially in bar 7-8, the last beat altered to lead into the repeat of the theme in bar 9 with a traditional perfect cadence. The while they celebrate in minor strain Triumphant love, effective enterprise, 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. 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. This work is majorly grounded on a collection of poems. The music continues to ascend throughout this bar, the music rises by a third each beat. Bar 47 reintroduces the rhythmic cell in the right, while a figure derived from it is played in the left hand. Listen for and try identifying at least TWO basic elements of music described in the required Module 6 textbook pages. The last dotted crotchet of bar 36 is written enharmonically to prepare for the modulation at bar 37. 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. 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! 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. This work is majorly grounded on a collection of poems. The flowing arpeggio is interrupted in bar 67 by a pause on the ic chord. The dynamics at this point is still pianissimo. 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. It was named after Paul Verlaine's 1869 poem of the same name, which references a … Cambridge: University Press, Long, M. (1960) At the piano with Debussy. 522-537, published by Oxford University Press here in Module 6. The while they celebrate in minor strain 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 positioning within the suite is important; it is the suite’s third movement, and is the lyrical climax of the suite. Change ). Change ), You are commenting using your Google account. Create a free website or blog at WordPress.com. Oxford: University Press, Schmitz, E. (1950)  The Piano Works of Claude 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. It is important to note that with the exception of the poetically titled Clair de Lune, suite Bergamasque is created exclusively from Baroque movements. 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 right hand begins a descending scale in thirds throughout bars 41-42. 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. 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. 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. The bar begins with an ascending iii chord leading into the opening theme, which leaves the dissonant dominant of the previous bar technically unresolved, although because of Debussy’s treatment of the materials the tension feels to have been resolved. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Debussy, C. (1978) Suite Bergamasque. The accompaniment also shows this rhythm in bar 29; in the arpeggio; the return to the previously arpeggiated note occurs on this rhythm. We resume Db major at bar 43. 4. Debussy composed different patterns in this piece, decorating it with a sensation of smooth rhythm. Carefully listen to the piano piece “Clair de Lune” and critically examine its components, style, context, and influence. 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. 4 (October, 1980), pp. 3. The music at this point is in two bar phrases. An ascending left hand figure is introduced in the bar 19. ( Log Out /  The harmonic rhythm slows at bar 29, with a sustained I chord moving to II in bar 30. Claude Debussy (1862-1918) composed Clair de Lune, the third movement from the Suite Bergamasque in 1888 (first published in 1903). You may also wish to refer back to the Module 6 Online Exploration resources as well as the required pages in your textbook for Module 6. summary of Clair De Lune (Moonlight On The Bosphorus).

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