| 词条 | Voiles |
| 释义 |
In their published form, the Préludes have their individual titles printed not at the start, but at the end—and in parentheses. Musical analysis{{Unreferenced section|date=November 2014}}{{Image frame|content= { #(set-global-staff-size 14) \ew PianoStaff << \ew Staff << \\relative c'' { \\tempo Modéré 8 = 88 \\clef treble \\key c \\major \\time 2/4 r4^\\markup { "(Dans un rythme sans rigueur et caressant.)" } } >> \ew Staff << \\relative c' { \\clef bass \\key c \\major \\time 2/4 R2 R R R } >> >> }The composition studies the whole tone scale intensively, with the exception of a brief six-measure section in the pentatonic scale. The structure of the piece follows a ternary (A–B–A') form. A begins in m. 1; B begins in m. 42; and A' begins in m. 48. This three-part form is articulated by the dynamic structure: A and A' have only soft dynamics (piano or softer), while B has a wider dynamic from piano to forte. The B section is also set apart by a faster tempo and increased density of notes. Finally, the A and A' sections are characterized by a whole-tone scale, while the B section is characterized by an E-flat minor pentatonic scale. The whole-tone scale and the soft dynamics give the A and A' sections a mysterious and eerie mood. In the B section, the louder dynamics, the faster passage, and the more consonant and familiar pentatonic scale give the listener a break from the eerie tone, allowing a brief moment of clarity. If interpreting the movement in light of "veils," the eerie, mysterious mood of the A section sounds veiled. The clearer, more open sound of the B section generates an impression that the veil is removed, but returns for the A' section. If one takes "sails" as a possible understanding of the title, that leads to a possible image of a becalmed ship in the A and A' sections, with the clearer, louder, brighter B section denoting a more open sea and sails full of wind. Generally however, there is no clear structure that the piece fits easily into; neither ternary form nor binary form fit in with the style of the piece. Some say that the pentatonic section forms the B part but, in truth, it is not clear enough to state it is definitely ABA. Others argue that it follows a Rounded Binary form more than Ternary form due to the fact that there is an A part, B part and then another bit at the end, concluding all of his ideas. See also
References1. ^pp. 133–136, The Piano Works of Claude Debussy, Elie Robert Schmitz, with foreword by Virgil Thomson, Courier Dover Publications, 1966. {{ISBN|0-486-21567-9}}. 2. ^Benward & Saker (2009). Music in Theory and Practice: Volume II, p.246. Eighth Edition. {{ISBN|978-0-07-310188-0}}. 3. ^Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.39. Seventh Edition. {{ISBN|978-0-07-294262-0}}. 4. ^Benward & Saker (2009), p.245.
External links
2 : Preludes by Claude Debussy|1910 compositions |
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