Tuesday, March 29, 2005

Debussy- Pour le Piano

I listened to Kieth play this piece at Master Class tonight. Debussy used phenomena to create clear division and make it possible for to analyze the piece with only one hearing. The piece begins with a melodic motive whose line is somewhat masked by a harmonic accompaniment with fast, triplets that give a buzzing sound like a swarm of bees. These triplets also add excitement to an otherwise very simple and repetitious melody that is kept within the a narrow, middle range. In this A section , the phrasing is created subtly by the melody. The B section is then made very clear through a break from the texture of the A section. The phrasing within this section is also clued by the change in texture. It goes from an ascending scale and the top of the scale begins the new section on repeating chords. The B section is also distinct from the much louder dynamics, a rise in the register, and sharp dissonance and tonal instability. Then the A section returns with the exact motive, but doesn’t return as many times. Then the B section comes back with a little variation and then there is a coda with some new material.

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