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beats (D–E–B). Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 (B–D–E). Motif 1 is heard on a broader scale in the bass notes (dotted whole notes) in measures 1–16, hitting the notes of the motif in inversion and transposition on the down-beats of measures 1, 15, and 16 (G–C–B). Also within measures 1 through 15 are two occurrences of motif 2 (G in measure 1, E in measure 5; E in measure 5, C in measure 15.) Motif 1 is also heard in a soprano voice from measure 1–15: The high D in measures 1, 3, and 5; the soprano E octave that occurs 12 times from measures 6–13; the high B in measures 14 and 15. Throughout all of this motivic repetition, transposition, and inversion, the themes (longer phrases made up of the smaller motifs) stay very much static, with only occasional elongation or shortening throughout the piece: The rising pentatonic theme in measure 1 (theme 1) repeats in measure 3, 5, 14, 15, 16, 17, 84, 85, and with a slight variations in measures 28–40 and 72–83. A second theme (theme 2), appearing for the first time in measures 7–13, repeats in measures 47–51.
180:(Sonorous but without harshness). Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62–66) and the organ is heard once more, but from underwater. To attain these effects that reflect images of the castle, most performers use specific techniques with regards to pedaling and articulation to affect tone color. For example, some performers use their full body weight to depress keys to create a rich sound. Also performers create a ringing bell sound by instantly releasing pedaled notes. Finally, the cathedral is gone from sight, and only the bells are heard, at a distant
339:(b. 22–27) builds on a G dominant 7th chord and returns to utilizing more open-sounding half note and quarter note lines. This builds up to the climax of the piece at b. 28, where the main thematic material of the A section, hinted at throughout the preceding material, is presented in C major fortissimo. The thick block chords played with both hands evoke the sound of an organ. While the majority of this theme is presented in the C major diatonic mode, the addition of a B-flat in b. 33–37 briefly changes the mode to C mixolydian before returning to ionian (major). The ending bars of a
310:) features the G major pentatonic collection in ascending block chords evocative of organum chant with many parallel fifths. This motif repeats itself twice, but each time the bass moves down a single step, so that the first repeat of the motif takes place over an F in the bass and the second repeat over an E. This changes the collectional center of the opening to the relative E minor pentatonic. The top note of this motif, an E, is held in octaves and repeated, evoking the sound of church bells. This leads to a brief section within a
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16, the markings say “peu à peu sortant de la brume,” or “little by little emerging from the fog.” This change in imagery (as well as the accompanying change in tonality) could represent the cathedral emerging from under the water. At bar 72, the marking says “comme un écho de la phrase entendue précedemment,” or “like an echo of the previously heard phrase,” which could be like the cathedral which had emerged gradually getting farther away and perhaps returning into the water.
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409:, which are not usually heard alone without a significant accompanimental figure. Parallel harmony forces the chords to be understood less with functional roots, and more as coloristic expansions of the melodic line. Overall, this prelude, as a representative of the 24 preludes, shows Debussy's radical compositional process when viewed in light of the previous 200 years of classical and romantic music.
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425:) in his prelude to dilute the sense of direction motion found in prior traditional progressions. Through application, tonal ambiguity is created that is often seen in Impressionist music. It may be noted that it took some time for Impressionist music to be appreciated, but the critics and the listening public eventually warmed to this experiment in harmonic freedom.
124:". In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion. Because this piece is based on a legend, it can be considered
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vary throughout the line, even if the interval sizes are identical, while in exact parallelism the sizes and qualities remain the same as the line progresses. Inexact parallelism can give a sense of tonality, while exact parallelism can dispel the sense of tonality as pitch content cannot be analyzed diatonically in a single key.
291:, which splits nicely into sections at the written key change so that A encompasses the beginning to bar 46, B encompasses bars 47–71, and A encompasses bar 72 to the end. Each larger section can be further divided into smaller sections and themes, which are arranged to give the piece a roughly symmetrical structure.
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section. This material is expanded and builds up to a climax within the B section at bar 61. As the music recedes down from this climax, one of the most interesting sonorities of the piece is presented in b. 63 in the form of dominant 7th chords with chordal planing. The roots of these planing chords
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descending. Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways. For example, motif 1 appears in the bottom of the right-hand chords on the 2nd, 3rd, and 4th quarter notes of measure 14 (D-E-B), and again in the next three quarter note
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The nearly symmetrical ABA form helps illustrate the legend that
Debussy is alluding to in the work, and his markings help point toward both the form and the legend. For example, the first section is described as being “dans une brume doucement sonore,” or “in a sweetly sonorous fog.” Then, at bar
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Debussy's "La cathédrale engloutie" contains instances of one of the most significant techniques found in the music of the
Impressionist period called parallelism. There are two methods of parallelism in music; exact and inexact. Inexact parallelism allows the quality of the harmonic intervals to
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section, though the right hands still features similar ascending quarter note chords. In b. 19, a slightly modified version of this material is presented in E-flat major. The melodic material in both the B major and E-flat major sections utilize the respective pentatonic modes of those keys. This
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This prelude is typical of
Debussy's compositional characteristics. It is a complete exploration of chordal sound that encompasses the entire range of the piano, and that includes one of Debussy's signature chords (a major tonic triad with added second and sixth scale degrees). Third, it shows
364:) section of A returns at the beginning of A, this time pianissimo, not scored quite as thickly, and in a lower register over an oscillating 8th note figure in the bass. This gives way to the final small section of the piece (b. 84–89), which is a mirror to the introduction of the piece (a
140:, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea. Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical symbolism.
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To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds (open fifths). The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean. The opening measures, marked
385:, with the first motif existing in three different variations, making 4 fragments in total (not counting the inversions and transpositions of each). The motifs are: 1) D–E–B ascending; 1a) D–E–A ascending; 1b) D–E–G ascending; 2) E–C
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In this piece, Debussy composes the music using motivic development, rather than thematic development. After all, “Debussy mistrusted development as a method of composition.” Fundamentally, the entire piece is made up of two basic
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Debussy's use of parallel harmony (the section beginning in measure 28, especially), which is defined as a coloration of the melodic line. This is quite different from simple melodic doubling, like the thirds in "
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section begins at b. 16 with a shift in key to B major and a new rhythmic drive introduced by 8th note triplets in the left hand. This stands in stark contrast to the slow, open quarter and half note lines of the
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After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16:
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minor, weaving around the E bell tones. At b. 14, the initial pentatonic theme returns, but this time over a C in the bass. This is the first hint of the true tonic of the A section and the piece overall. The
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in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces in accordance with the image that he intended to evoke, such as in the case of
368:). The rising pentatonic figuration seen at the beginning appears here, this time in the tonic C major. The piece ends on a C major chord with an added scale degree 2.
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168:(Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism. Then, after a section marked
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follow the key signature but the quality of each chord remains dominant. This gives way to a 4-bar transition (b. 68–71) to the final A section.
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The A section is something of a mirror image of the original A section. The C major theme that was originally presented in the final (a
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McGraw-Hill
Companies, Inc. Claude Debussy, (1998): Accessed March 17, 2015. www.mhhe.com/socscience/music/kamien/student/olc/29.html
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This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of
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Various arrangements and transcriptions of the piece exist. A transcription for solo organ was made by Léon Roques and
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176:(measures 28–41). This is the loudest and most profound part of the piece, and is described in the score as
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as "The
Engulfed Cathedral" and released in a recording in 1930. It appears in a cover version on the album
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The
Companion to Debussy". Ed. Simon Trezise. (Cambridge: Cambridge University Press, 2003), 141.
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recording of 1973–1974. John
Carpenter used it as sound track in his 1981 science fiction movie
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in Paris, and 2) medieval chant music, similar to the organa in parallel fifths from the
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in 2011 (recording
Brilliant Classics 94233). It was arranged for orchestra by
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578:. Ed. Simon Trezise. (Cambridge: Cambridge University Press, 2003), 190.
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made a transcription for orchestra of this piece in 1921, while composer
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659:. Ed. Simon Trezise. (Cambridge: Cambridge University Press, 2003), 187.
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minor and presents the corresponding melodic material from the A/a
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The A section can itself be divided into three smaller sections: a
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Connie
Mayfield, Theory Essentials (Cengage Learning 2012), 483
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DeVoto, Mark. "The
Debussy Sound: colour, texture, gesture."
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DeVoto, Mark. "The Debussy Sound: colour, texture, gesture."
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The overall form of this piece can be loosely attributed to a
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DeVoto, Mark. "The Debussy Sound: colour, texture, gesture."
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DeVoto, Mark. "The Debussy Sound: colour, texture, gesture."
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arranged the piece for electronic synthesizer as part of his
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Trezise, Simon. "Chronology of Debussy's Life and Works."
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Audio playback is not supported in your browser. You can
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Les sons et les parfums tournent dans l'air du soir
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282:The "organ chords" in "La cathédrale engloutie"
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507:Musical Style and Genre: History and Modernity
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306:(b. 22–46). The introduction of the piece (a
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918:La terrasse des audiences du clair de lune
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1647:Music based on European myths and legends
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251:Learn how and when to remove this message
562:Potter, Caroline. "Debussy and Nature."
421:Debussy uses parallelism (also known as
346:The B section features a modulation to C
106:This prelude is an example of Debussy's
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633:. (New York: Macmillan, 1951), 196–199.
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331:section builds to the arrival at the a
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1165:Rhapsodie for saxophone and orchestra
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932:Hommage à S. Pickwick Esq. P.P.M.P.C.
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19:For the novel by Charlotte Wood, see
1198:Dances for Harp and String Orchestra
505:Lobanova, Marina, trans. Kate Cook,
229:adding citations to reliable sources
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1213:Six sonatas for various instruments
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16:Piano composition by Claude Debussy
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644:The Cambridge Companion to Debussy
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548:The Cambridge Companion to Debussy
534:The Cambridge Companion to Debussy
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592:The Thematic Process in Music
522:(New York: Knopf, 1981), 314.
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1358:La fille aux cheveux de lin
1049:La chute de la maison Usher
828:La fille aux cheveux de lin
520:The Literature of the Piano
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1637:Preludes by Claude Debussy
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1372:La cathédrale engloutie
1365:La sérénade interrompue
842:La cathédrale engloutie
835:La sérénade interrompue
807:Les collines d'Anacapri
273:download the audio file
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80:La cathédrale engloutie
41:La cathedrale engloutie
1559:Impressionism in music
793:Le vent dans la plaine
688:"Cathédrale Engloutie"
509:(Routledge, 2000), 92.
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946:Les tierces alternées
603:Lockspeiser, Edward.
122:Jardins sous la pluie
108:musical impressionism
102:Musical impressionism
57:Performed by pianist
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1005:List of compositions
814:Des pas sur la neige
779:Danseuses de Delphes
478:Escape from New York
447:by John Zorn's band
405:", or the fifths in
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154:Universal Exhibition
118:Des pas sur la neige
61:in April 2006, Paris
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435:Jean-Baptiste Robin
376:Debussy's depiction
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770:Premier Livre
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210:This section
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126:program music
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1432:Petite suite
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1245:(1888, 1891)
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1217:Cello Sonata
1204:
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1125:
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1082:
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1031:(1893–1902)
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695:. Retrieved
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483:Henri Büsser
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429:Arrangements
420:
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359:
345:
298:(b. 1–15), a
293:
286:
247:
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223:Please help
211:
181:
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145:
142:
135:
132:Legend of Ys
111:
105:
79:
77:
68:
40:
1548:Emma Bardac
1506:Other vocal
1498:(1891–1904)
1490:(1887–1889)
1482:(1885–1887)
1435:(1886–1889)
1395:Brouillards
1318:(1906–1908)
1261:(1890–1905)
1167:(1901-1911)
1161:(1909–1910)
1155:(1889–1890)
1130:(1905–1912)
1122:(1903–1905)
1114:(1897–1899)
1079:(1912–1913)
1071:(1911–1912)
1052:(1908–1917)
1044:(1902–1911)
1023:(1890–1892)
876:Brouillards
692:Faber Music
467:Isao Tomita
453:Renaissance
413:Parallelism
1631:Categories
1186:Piano Trio
1095:Orchestral
449:Naked City
241:April 2018
182:pianissimo
174:fortissimo
146:pianissimo
71:media help
1471:Beau soir
1207:for flute
1111:Nocturnes
856:Minstrels
212:does not
90:for solo
59:Ivan Ilic
1594:Category
1388:Préludes
1330:Préludes
1274:Estampes
904:Bruyères
757:Préludes
455:'s song
388:♯
349:♯
317:♯
96:préludes
1541:Related
1282:Masques
1179:Chamber
697:24 July
396:Context
233:removed
218:sources
120:", or "
1607:Portal
1569:crater
1550:(wife)
1533:(1911)
1525:(1909)
1517:(1889)
1474:(1880)
1451:(1915)
1443:(1914)
1412:(1915)
1410:Études
1384:(1910)
1337:Voiles
1326:(1909)
1298:Images
1293:(1904)
1285:(1904)
1277:(1903)
1253:(1890)
1219:(1915)
1209:(1913)
1205:Syrinx
1200:(1904)
1194:(1893)
1188:(1879)
1149:(1884)
1127:Images
1119:La mer
1106:(1894)
1087:(1913)
1068:Khamma
1060:Ballet
939:Canope
925:Ondine
786:Voiles
407:La Mer
403:Voiles
383:motifs
113:La Mer
43:(5:25)
1463:Songs
1227:Piano
1012:Opera
493:Notes
92:piano
1234:Solo
1076:Jeux
699:2016
216:any
214:cite
193:Form
760:by
590:.
227:by
116:, "
1633::
690:.
552:xv
465:.
184:.
138:Ys
128:.
1609::
988:e
981:t
974:v
748:e
741:t
734:v
701:.
366:1
362:3
354:1
341:3
337:3
333:3
328:1
326:a
323:2
321:a
312:1
308:1
304:3
300:2
296:1
275:.
254:)
248:(
243:)
239:(
235:.
221:.
78:"
73:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
