Debussy Nuages Revision

0.0(0)
studied byStudied by 0 people
0.0(0)
call kaiCall Kai
learnLearn
examPractice Test
spaced repetitionSpaced Repetition
heart puzzleMatch
flashcardsFlashcards
GameKnowt Play
Card Sorting

1/50

encourage image

There's no tags or description

Looks like no tags are added yet.

Last updated 12:55 PM on 2/4/26
Name
Mastery
Learn
Test
Matching
Spaced
Call with Kai

No analytics yet

Send a link to your students to track their progress

51 Terms

1
New cards

Name the bar numbers of Rotation 1:

Bars 1-10

2
New cards

In what bars and rotation can triadic harmony be seen?

Bars 29-32 in the ‘x’ material of R3

3
New cards

Name the bar numbers of Rotation 2:

Bars 11-28

4
New cards

Which rotation has the least typical ‘x’ material?

Rotation 3

5
New cards

Name the bar numbers of Rotation 3:

Bars 29-56

6
New cards

Name the bar numbers of Rotation 4:

Bars 57-93

7
New cards

Name the bar numbers of Rotation 5:

Bars 94-102

8
New cards

What are 4 characteristics of ‘x’ that apply to every rotation?

  • Homophonic texture

  • Continuous crotchets

  • Distinctive 6-note figure

  • Octatonically inflected B minor

9
New cards

Name 4 distinctive characteristics of the ‘y’ material

  • Cor Anglais melody (starts with triplet, spans a tritone)

  • Metric dissonance of melody (4/4)

  • G dominant 7th chord

  • B pedal

10
New cards

What is the difference between the ‘x’ and ‘y’ material in R1?

The ‘y’ material is fully octatonic

11
New cards

How is R2 different to R1?

R2 is essentially a copy of R1 material with extra orchestral and harmonic colour

12
New cards

How is the ‘x’ material presented differently in R2?

  • Presented on violins, not woodwinds

  • Uses doublings

13
New cards

How does Debussy erase the functionality of extended chords?

By writing them parallel to each other

14
New cards

What scale does Debussy use to provide contrast in the interpolation of R2?

Pentatonic scale(s)

15
New cards

How is the ‘y’ material presented differently in R2?

  • Harmonic colour is different

  • Not fully octatonic (addition of an A from the G9 chord)

  • Uses the notes of the G acoustic scale

16
New cards

How does a G acoustic scale compare to a G major scale?

A G major scale with a raised 4th and a flattened 7th

17
New cards

What is an acoustic scale?

A major scale with an augmented 4th and a flattened 7th

18
New cards

What makes the rhythmic dissonance in R2 ‘y’ material more noticeable?

The crotchets in the viola part (which are similar to the ‘x’ material)

19
New cards

Where does the falling tritone motif first appear and what is its significance?

  • Bar 23

  • It is the same interval and pitches that the ‘y’ material spans

20
New cards

How does Debussy extend the ‘y’ material in R2?

He repeats the Cor Anglais melody

21
New cards

What bars does Debussy particularly use the pentatonic scale?

Bars 64-80

22
New cards

What octatonic scale does Debussy use and what interval does he start with (tone/semitone)?

  • B octatonic

  • Tone (B to C#)

23
New cards

What 5 scales does Debussy use in Nuages (in alphabetical order)?

  • Acoustic

  • Dorian

  • Octatonic

  • Pentatonic

  • Whole tone

24
New cards

Name 4 characteristics of the whole tone scale/harmony?

  • Necessarily ambiguous

  • Only allows for augmented triads

  • Gives a dream-like sensation (think Bali Hai in South Pacific)

  • Lack of semitones means no differentiation of harmony

25
New cards

What remains similar in the ‘x’ material of R3?

  • Texture

  • Rhythm (although with a little added syncopation)

26
New cards

How is the ‘x’ material in R3 significantly altered?

  • The distinctive melody is substantially changed

  • Previous statements started with a bare 5th (B and F#) whereas this has a D minor triad

  • All of the crotchets are triads (triadic harmony)

27
New cards

What emerges in the interpolation of R3?

Whole tone colour with emphasised Cs, Ds, Es, and F#s (whole tones spanning a tritone)

28
New cards

How does the ‘y’ material in R3 differ from previous rotations?

The texture and harmony are shifted to give a different colour to the unchanged Cor Anglais melody

29
New cards

How does the ‘y’ material in R3 differ from R2?

It is purely octatonic, rather than incorporating the A of a G9 chords

30
New cards

In R3, what 2 chords does the harmony oscillate between?

A very dissonant B13 and the familiar G7

31
New cards

What is the sounding pitch of a Cor Anglais?

A perfect 5th lower than written

32
New cards

How does Debussy add instrumental and textural detail to the ‘y’ material of R3?

  • Using both arco and pizz strings

  • Adding imitation

33
New cards

What are the 2 differences between the ‘x’ material in R4 as compared to previous rotations?

  • Theme is played in oboes (not heard before)

  • Viola solo

34
New cards

What is the most contrasting section of the piece and what harmony does this use?

  • The interpolation of R4 (Bars 64-79)

  • Pentatonic harmony

35
New cards

How does the contrasting interpolation of R4 fade out?

With a variation of the ‘y’ material seen in Bar 51

36
New cards

In what rotation is the most harmonically colourful presentation of the ‘y’ material?

Rotation 4 (Bars 80-93)

37
New cards

What chord is connected to the ‘y’ material?

G7

38
New cards

What are the first 3 chords of the ‘y’ section of R4 and what scale do these correspond to?

  • G7, C#7, E7

  • Octatonic

39
New cards

What is the difference between Rotations 1-4 and R5?

Rotations 1-4 are about expanding and changing colour 

R5 is much shorter, material is fragmented and reduced, ‘x’ and ‘y’ material seems to disappear and becomes harder to hear

40
New cards

How is the ‘x’ material presented in R5?

  • Dark colour

  • Down an octave in bassoons

  • Fragmented and interspersed with silence

41
New cards

How does Debussy recreate the R4 pentatonic interpolation

  • Virtually no accompaniment, as opposed to the previously rich accompaniment

42
New cards

What remains of the ‘y’ material in R5?

  • Falling tritone motif

  • Low rumbling B pedal note

  • G7 chords

43
New cards

How does Debussy’s piece end?

In an octatonic fog

44
New cards

Where do parallel dominant 9ths first appear?

Bar 13 (R2 ‘x’ material)

45
New cards

What is the harmony of bars 19-20 (R2, last 2 bars of the interpolation)?

Eb9 with Bb dorian elements

46
New cards

In what bar and rotation in the C major chord?

Bar 31, the 3rd bar of Rotation 3

47
New cards

When does the ‘y’ material first conform to the 6/4 meter?

Bar 51

48
New cards

What intervallic formula do dominant 9ths use?

1,3,5,b7,9 (major 9th, dominant 7th)

49
New cards

What is a dorian scale?

A natural minor with a raised 6th (minor 3rd, raised 6th, minor 7th)

50
New cards

What is quartal harmony?

Harmony built on 4ths

51
New cards

What is the difference between an appogiatura and an acciacatura?

  • An appogiatura is an accented note that falls on the beat (no slash through the note)

  • An acciaccatura is an unaccented note that is played before the beat (slash through the note)