Print and download in PDF or MIDI La Cathédrale Engloutie – Composed by Claude DeBussy. Made by bmacs La Cathédrale engloutie (The Submerged Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in as the tenth prelude in Debussy’s first of two . In this piece, Debussy composes the music using motivic development, rather than thematic development. After all. Debussy – La Cathedrale Engloutie (Preludes Book 1 no) sheet music for Trumpet. You can access this piece (and all our high quality, printable PDF files) by.

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There are two methods of parallelism in music; exact and inexact. Apparently a re-engraving of the Durand score above.

Arranger Pierre Gouin – Contact. History and Modernity Routledge, This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ysrises up from the sea on clear mornings when the water is transparent. To begin the piece, Debussy uses parallel fifths.

Performer Pages Heather W. Creative Commons Zero 1. Remaining in Cit skips to material from the beginning of B, and continues with this material until bar 67, modulating briefly through E and G minor pentatonic.

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You may ask me for a manually cleaned version. Contents 1 Performances 1. The first chord of the piece is made up of sonorous Gs and Ds open fifths. Problems playing this file?

La cathédrale engloutie

Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 B-D-E. Also performers create a ringing bell sound by instantly releasing pedaled notes. Creative Commons Attribution-NonCommercial 4. I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e. It is characteristic of Debussy in its form, harmony, and content.

The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean. After three bars, it modulates to Eb pentatonic, continuing the same thematic idea, again for three bars. From Wikipedia, the free encyclopedia. This is engloutiie different from simple melodic doubling, like the 3rds in Voilesor the 5ths in La Merwhich are not usually heard alone without a significant accompanimental figure.


L.117 No.10 La cathédrale engloutie

Editor Eberhardt Klemm Naxos Javascript not enabled. Productions du Moliantegok, Isabella Stewart Gardner Museum. Views Read Edit View history. 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 Editor First edition reissue. The high D in measures 1, 3, and 5; the soprano E octave that occurs 12 times from measures ; the high B in measures 14 and Creative Commons Attribution Non-commercial 3.

Creative Commons Attribution 3. Creative Commons Attribution-ShareAlike 4.

La cathédrale engloutie

The form of the piece can be traced through the progression of tonal centers and pitch collections. Cathedralee next section is a subset of A, noted as c in the timeline. Arranger Arthur Hartmann By using this site, you agree to the Terms of Use and Privacy Policy. For example, some performers use their full body weight to depress keys to create a rich sound.

Within this climactic section, measuresDebussy briefly modulates to F major, but finishes again in C major. It also implies that this section is a mirror of one which came before, giving further support to the intro-ABA-outro structure.

The copy from International Harp Archives has markings in pencil for harp. MacMillin, Retrieved 24 July 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 2nd and 6th scale degrees.


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. Performer Pages Stefano Ligoratti Piano. Editor Pierre Gouin – Contact. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean measures and the organ is heard once more, but from underwater.

The next section, B, measuresis a composite of earlier themes. 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. Various arrangements and transcriptions of the piece exist.