The punctuation marks are various. Read the essay “Musical Impressionism: The Early History of the Term” by Ronald L. Byrnside from The Musical Quarterly, Vol. The opening 8 bars are repeated in bars 9; with some decoration, harmonic substitutions and other changes. 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. This texture continues until bar 26. Change ). 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. This is worth mentioning, as while Debussy has composed a movement that may itself warrant detailed analysis, it is important to remember that care has been taken with both compositional material and structure on a macroscopic level. The choice of chord I is also supported by the left hand for the opening four bars, which implies a chord-a-bar harmonic rhythm. ( Log Out /  It was named after Paul Verlaine's 1869 poem of the same name, which references a … 2. Module 6 Clair de Lune Analysis Essay Like most of Verlaine's poetry, it's short so I've given you a few translations: Claire De Lune 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. Bar 15 could be interpreted both as the finishing of the previous phrase, making it 8 bars long, or as the start of the next block in material; the change in texture is significant, we now have a homophonic texture. 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. 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 harmony, while compositionally inventive, is still heavily rooted on conventional diatonic harmony; there has been occasional chromatism but the music feels diatonic.
The opening theme of Clair De Lune is derived from music heard in the preceding movements of the suite. The second half of the theme is sequential, shown by the yellow. The harmonic rhythm slows at bar 29, with a sustained I chord moving to II in bar 30. This is an analysis of the poem Clair De Lune (Moonlight On The Bosphorus) that begins with: The information we provided is prepared by means of a special computer program.

Throughout the opening phrase the left hand part begins to slowly descend, while the diatonic opening theme floats above in the right hand. 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. 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 second theme of the movement is constructed from the rhythmic cell shown below.

We resume Db major at bar 43.

New York: Sloan & Pearce, Filed under Essays, Music Here Debussy has already broken two rules of conventional voice leading; Debussy begins without the tonic note, introducing it later, where the mediant of the chord (F natural) is doubled. 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 movement remains mostly in the tonic, the only modulation occurring in bars 37-42, which means the sections are harmonically closed. 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. The first half of the theme (blue) is voiced in thirds, but the latter half is not. Harmonic interest is created in bar 45-46 when chords are played in the right hand over the dominant Ab pedal. Use the criteria sheet to understand greatest poems or improve your poetry analysis essay.

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.

The composition opens in Db major with a tonic chord. 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 poem has also been set to music by Gabriel Fauré. The same words la, ni, 'tis are repeated. Change ), You are commenting using your Facebook account. Bar 47 reintroduces the rhythmic cell in the right, while a figure derived from it is played in the left hand. 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 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 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 Poem by Paul Verlaine. The “Clair de Lune” is a unique masterpiece which portrays the connotation moonlight. 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. 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. Between these parts, the harmony is arpeggiated and sustained notes in the middle register of the piano can be heard.

522-537, published by Oxford University Press here in Module 6. At bar 51 the music returns to the opening theme and the start of the final section.

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? 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! Cambridge: University Press, Long, M. (1960) At the piano with Debussy. Debussy is building tension with a full arsenal of devices to prepare for the climax of the piece. The chord used on the third beat of bar 27, bIIIb is an unusual harmonic choice within conventional tonality and shows Debussy experimenting with non-functional harmony; this creates a new and interesting sound world, made more obvious by the preceding chord III(a). The dynamic is marked PPP, which is the quietest dynamic in the piece. The harmonic rhythm at this point has slowed. Listen for and try identifying at least TWO basic elements of music described in the required Module 6 textbook pages. The opening F Ab idea re-enters with an ascending octave gesture. Carefully listen to the piano piece “Clair de Lune” and critically examine its components, style, context, and influence. Neither mark predominates. This work is majorly grounded on a collection of poems. ( Log Out /  The overall tessitura shifts suddenly upwards at this point. 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. 3. (Howat, R. Page 1). The theme has undergone alterations since its introduction. 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. Identify the “mood” of the song. 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 while they celebrate in minor strain Triumphant love, effective enterprise, An alternative to ternary form could be rounded binary form, again with an added coda. Explain whether “Clair de Lune” is Apollonian or Dionysian, and provide evidence supporting your argument. The while they celebrate in minor strain

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