Nuages, rotation 1 to 3 revision

Nuages, rotation 1 to 3 revision

Aim: To revise the second 20th century set work

Objective: To identify and revise the main thematic features and developments of rotations 1 to 3

Structure

There are two generally recognised interpretations of the structure of Nuages

One view is that it is in ternary form. When viewed from this perspective, the piece contains two outer sections with similar musical material (A and A1), and a central section (B) with a contrasting theme:

Please make a note of the bars in your score that are identified with this interpretation

Rotational form

The other view is that it has a rotational form. From this perspective, the structure of the piece has five sections (called rotations). The boundaries of these sections are defined by the repetition and alternation of two themes referred to as ‘Theme X (A)’ and ‘Theme Y(B)’. Theorists generally refer to the two themes as A and B however the board refers to them as X and Y

The main thematic ideas

There are 2 main themes that occur in each rotation

Idea X tonal center of B.

Idea Y (the fog horn)

Rotation 1, Bars 1 to 10

The following slides will be a series of questions and information summaries on rotation 1. Use the notes to annotate your score. To the right is an audio clip of rotation 1

Idea X tonal center of B. Mark in your score.(Bar 1) These scales are not used strictly and other notes are sometimes added

This motif is theme Y and is based on a G dominant 7th, but the notes are also taken from the B octatonic scale

The X theme or idea is developed throughout the piece, but the Y theme is presented almost in the same form each time

“Debussy stated that the cor anglais motif (bars 5-8) is meant to evoke the foghorn of a passing boat on the Seine.

Multiple Choice

1. How do we describe the texture of the X theme ?

• A chordal texture

• A polyphonic texture

Multiple Choice

How can we describe the melody contained within the theme (figure X)?

• A descending melody consisting largely of major 2nd, major and minor 3rds, and perfect 4ths

• An ascending melody consisting largely of major 2nd, major and minor 3rds, and perfect 4ths

Multiple Choice

How can we describe the rhythm of the theme (figure X)?

• The use of continuous crotchet rhythmic movement

• The use of continuous minim rhythmic movement

Rotation 1 Bars 1-4 (summary)

In bars 1-4, the first of the piece’s two main motifs is presented.

Figure X has a chordal texture and uses a descending melody consisting largely of major 2nd, major and minor 3rds, and perfect 4ths in continuous crotchet rhythmic movement 

Multiple Choice

How can we comment on the harmony?

• There is the use of non-functional, chromatic harmony. At this early stage in the work, the harmony consists mainly of dyads, based around the use of the interval of a 5th alternated with that of a 3rd

• There is the use of functional harmony. At this early stage in the work, the harmony consists mainly of triads.

Multiple Choice

What instruments carry this theme (figure X) in bars 1 to 4?

• The woodwind (Clarinets and Bassoon)

• The strings

• The Cor Anglais

Rotation 1 Bars 1-4 (summary)

There is the use of non-functional, chromatic harmony. At this early stage in the work, the harmony consists mainly of dyads, based around the use of the interval of a 5th alternated with that of a 3rd. It has a sense of metric ambiguity — without looking at the score,it is hard to tell just whether this material is in 6/4 or in 3/2. An ambiguous sense of tonality, although it appears to be centered around the pitch B, which may point towards B minor, given the key signature (F# and C#). However, there are no functional chord progressions to confirm this.

Rotation 1 Bars 5-10

There is now a contrasting time signature the use of common time in the Cor Anglais

Other rhythms have been varied including triplet semiquavers, crotchets and minims. Longer rhythms, tied across the barline help to create a sense of metrical ambiguity 

Multiple Choice

What scale has been used to create the tonality of theme Y (The foghorn theme)?

• Pentatonic scale

• Octatonic scale

• Whole tone scale

• Minor scale

Multiple Choice

What instrument carries the Y theme ?

• The cor anglais

• The Oboe

• The Trumpet

• The Violins

Rotation 1 Bars 5-10 Theme Y (summary)

The cor anglais carries the Y theme to create a piercing effect, cutting through the muted strings in the rest of the ensemble. It uses stepwise, descending, conjunct intervals .It also remains relatively unchanged over the course of the piece, and is not subjected to extensive development. It is however fragmented in later rotations.

Other features of Rotation 1

From bar 7, pianissimo (ppp), timpani drum rolls contribute a dark tone to the ever-shifting, impressionistic palate of sonorities.

Bars 5—10  the use of dyads, played by the (muted) strings in a high register. These add a bright sonority that may suggest the reflection of light on water. From a harmonic perspective, these chords are hard to identify or classify in conventional notation (such as Roman numerals or jazz chord notations) because they only contain two pitches and occur in a tonally ambiguous context

Rotation 2 Bars 11-20

The following slides will be a series of questions and information summaries on rotation 2. Use the notes to annotate your score. To the right is an audio clip of rotation 2

Rotation 2 Bars 11-20

This section is a varied version of Theme x.

Overall, Theme x has been expanded and extended in this rotation, both in terms of its length, and in terms of its harmonic richness.

The texture starts to thicken in relation to the texture of Rotation 1 through the use of muted, divisi strings and a three-part texture.

Extended chords such as 9ths, 11ths and 13ths, are used extensively. For example, bar 15 sees the use of a Bb9 chord, and bars 17-18 see a sustained G11 chord.

Multiple Choice

How can we describe the chords at bar 14?

• There is a passage of parallel 9th chords in bar 14, the outer intervals forming perfect 5ths (the central motif of the opening). The later chords in bars 15-19 are based about Bb, G and Eb.

• There is a passage of parallel 11th chords in bar 14, the outer intervals forming perfect 6ths (the central motif of the opening). The later chords in bars 15-19 are based about Cb, F and Db.

Multiple Choice

What mode is reference in all parts in bars 19-20, it is built on the second degree of a major scale?

• Bb Dorian

• Bb Locrian

• Bb Lydian

• Bb Mixolydian

Multiple Choice

How are the basses instructed to play at bars 15-16 ?

• Pizzicato

• Sul Ponticello

• Sul Tasto

• Con Sordino

Multiple Choice

Tenuto is also used in a number of places (e.g. violin, viola and cello parts, bar 18). What does tenuto mean?

• Pause over a note

• hold or sustain a note for half its full length

• hold or sustain a note for its full length

• Play with the wood of the bow

Rotation 2 Bars 11-20 (summary)

There is a passage of parallel 9th chords in bar 14, the outer intervals forming perfect 5ths (the central motif of the opening). The later chords in bars 15-19 are based about Bb, G and Eb. WBb Dorian mode is referenced in all parts in bars 19-20, it is built on the second degree of a major scale. Pizzicato is introduced in the double bass part at bars 15-16. Tenuto is also used in a number of places (e.g. violin, viola and cello parts, bar 18)

Rotation 2 Bars 21-28 (summary)

Theme X continues at bars 21-28 as an ostinato or accompanying string oscillations. The harmony of this passage is very static using an extended B half diminished 7th chord above the chordal accompaniment, Theme Y is heard in the cor anglais in bars 21-24 and bars 25-28.

B half diminshed 7th

In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1, ♭3, ♭5, ♭7). For example, the half-diminished seventh chord built on C, commonly written as C^ø7, has pitches C–E♭–G♭–B♭:

Half Diminished 7th Chords

On a piece of manuscript paper write in treble clef the following half diminished seventh chords:

D half diminished 7th

E half diminished 7th

A half diminished 7th

Rotation 3 Bars 29-43

The following slides will be a series of questions and information summaries on rotation 3. Use the notes to annotate your score. To the right is an audio clip of rotation 3

Rotation 3 Bars 29-32 (summary)

This transitional passage outlines a descending melody that helps to transfer the music into a lower register ready for the new texture at bar 33. The material in this passage is loosely based around Theme X. The connection to this theme is evoked by:

The use of crotchet rhythms

Use of 2nd, 3rds and 4ths in the melody. 

Use of parallel minor chords. This non-functional progression adds to the hazy, watery feel of the piece. It also recalls the parallel harmonic motion, as previously seen at bars 11-20 (Rotation 2).

Rotation 3 Bars 33-42 (summary)

This passage continues to develop Theme X through a new, two-part texture, which is made interesting through the use of orchestral doublings. The harmony and tonality of this passage have a number of interesting features. Parallel chords feature frequently, Bassoon Oboe especially at bars 38-41. Parallel intervals both within and between parts, bars 38-41

Harmonic sequences

A "Harmonic Sequence" is a repetition of a series of chords 

Harmonic sequences can be seen in several places in this passage; for example, in bars 33-36 where the bassline in particular uses the whole-tone scale. 

Multiple Choice

This section also features some very effective blending of sonorities and timbres. For instance, at bars 33-35, the clarinets and third bassoon parts play a countermelody How and by what is this countermelody then picked up

• It is picked up, in imitation, by the first oboe and first and second bassoons

• It is picked up, in sequence, by the cor anglais and first and second bassoons

Multiple Choice

What happens dynamically at bars 39-41?

• A long diminuendo is used to obscure an ascending melodic and harmonic sequence in the string parts

• A long crescendo is used to emphasise an ascending melodic and harmonic sequence in the woodwind parts

Rotation 3 Bars 33-42 (further summary)

This section also features some very effective blending of sonorities and timbres. For instance, at bars 33-35, the clarinets and third bassoon parts play a countermelody which is picked up, in imitation, by the first oboe and first and second bassoons. The two different orchestral layers overlap at bar 34.3-35.1. This type of overlapping orchestration, used frequently throughout the piece creates an endless array of subtly changing sonorities. A long crescendo is used At bars 39-41 to emphasise an ascending melodic and harmonic sequence in the woodwind parts. The material in this sequence is based around Theme X.

Bars 43-56 (summary)

A sudden dip to pp precedes the reappearance of Theme Y. Theme Y is stated twice in its original form at bars 43-50, and is later extended through use of triadic intervals at bars 51-56.

The crotchet ostinato rhythm of Theme X is played as an accompaniment to the main melody. At bars 43-50, Debussy converts the ostinato into syncopated quavers in the cello and viola parts.

Multiple Choice

What pedal note appears at bars 43-52?

• A

• B

• C

• D

The end of roatation 3

A pedal note (B) features in the bass. While this might sound at first like a fairly conventional harmonic device, it signals the start of a descent of a tritone to F natural in the bassline.

Melody Dictation Practice

With the rest of your time today please practice your melody dictation using the resources online and on the SharePoint