Debussy - Clair de Lune - Harmonic Analysis
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- čas přidán 21. 08. 2024
- An analysis on the structure, harmonic framework and motivic ideas present in Debussy's ultra classic Clair de Lune.
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you deserve more subscribers and views, I can tell you put a lot of work in these videos!
Thx buddy!
Thank you my man!!! Debussy is so important to analyze because his form (or lack thereof) can be esoteric and hard to grasp (probably on purpose) Thank you!!
Timestamps:
0:00 Intro
2:35 Chapter 1: Recording by Simon Renzi
8:05 Chapter 2: Section A analysis
13:33 Section A listening exercise
15:40 Section B analysis
19:36 Section B listening exercise
20:54 Section A' + CODA analysis
23:07 Section A' + CODA listening exercise
Excellent,Timon, would you do the arabesque no1 also. Great that your uploading analyses again.
I actually plan to do that one!
I don't understand the sixth measure. Why is the second chord a dominant (fifth degree)?
So to understand chord progressions you often have to look ahead. The next chord is Bflat minor with the seventh A flat in the bass, hence VI2. The dominant of Bflat is F. This is the chord in the bar before, we have F A C Eflat. This dominant F seventh chord is in first inversion (A in the "bass"), hence V65. The brackets indicate that this chord is a secondary dominant to another chord. A secondary dominant is a dominant chord which does not belong to the current keycenter, but acts as a dominant to a temporary keycentre. Hope this helps? If you want to know more about this you can always email me: timondenood@gmail.com
Ohh that's really clear. Thanks a lot for your answer and your videos!
I can't understand the second motive of the piece. Do you have a suggestion for a further reading so I can understand this?
What is it that you can't understand about it?
@@TimondeNood I don't understand motifs/motives in general
From wikipedia: in music, a motif (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity".
So we're talking about a small set of notes that is very easy to identify by the ears, that is used throughout a composition. Usually a theme (longer melodies) contain a bunch of motives. Here, in the case of the first theme I identify two motives. The first one the upward notes, and the second one the 3 notes with stepwise changing note motion. Did this help?
This site is also very good: tobyrush.com/theorypages/index.html There is one pdf on motivic development on the most famous motive in classical music
@@TimondeNood it helped a lot. Thank you Timon!