| In the work of Debussy we rather often encounter so-called 'neo-modality':
the old scales dorian, phrygian, lydian and mixolydian are used within
a context that might be more or less clear tonal, or modal alltogether.
It is not so strange, in my opinion, that in a piece about an old
cathedral Debussy uses both neomodality and parallel harmony - the
latter possibly referring to the fact that music in the earlier middle
ages moved in parallel fifth and fourth (?)
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| The piece is played by Anker Blyme (Danacord) |
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La cathedrale engloutie (the tenth prelude)
| a |
Make a brief overview of the form of the piece. In which key is this
prelude? (when it is in a key at all...) |
| b |
Several times in the piece the modi dorian and mixolydian are used.
Indicate the spots where one of them is used, and mention what the root
of the modus is in thesee passages |
| c |
On a few occasions parallel harmony is used. Where? Is this parallel
harmony diatonic or chromatic? |
| d |
We encounter on these piece also the use of the pentatonic scale.
Where? Is it nevertheless possible to say the piece in a specific key at
that point? Why? |
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