Syrinx, By Claude Debussy
Topic 2 – An Instrument and its repertoire
Syrinx by Claude Debussy https://www.youtube.com/watch?v=b-9xGnbBHMI Background:
Syrinx is an essential part of music for any Flautist’s repertoire. Syrinx was written by Claude Debussy in 1913, allowing the performer generous room for interpretation and emotion. The piece acted as a fundamental role in the development of solo flute music in the early 20th century. The piece is commonly performed off stage as Debussy dedicated the piece to flautist Louis Fleury, for him to play during the interval of one of Debussy’s ballets. Syrinx was written as incidental music to the uncompleted play Psyche by Gabriel Mourey originally titled ‘Flute de Pan’ however, about the myth of the romantic pursuit of the …show more content…
• Tenuto notes on B flat, A flat and G flat
• Motif ends on a descending contour in semi tones, returning to a high B♭ (decrescendos are in place to emphasize descending contour)
3 – 7 0:12 – 0:39s • Bar 3 is a restatement of Bar 1
• Development of Bar 2 pitched down an octave (inverted) then broadly repeating the first 3 notes 3 times (gradually) with the first note moving up a semi-tone each time (ascending contour) concluded with a re-statement of the first four notes of bar 4
• This introduces B♮ or C♭, incorporating a scale of A♭, B♭, C♭, D♭, E♭, F♭, G♭, A♭, B♭, C♭, D♭, E♭.
• Bar 5, 6,7, ascend through an arpeggio taken from D♭m7. This includes very subtle rhythmic phrasing, marked piano. Sustained high notes in Bars 6 – 7 take the pitch up to a high E♭, then descending to the original B♭, to bring the first section to an end with a double bar line.
Un Peu Mouvementé (Mais Trés Peu) – Section 2
Bar Time section starts Comments
8 – 13 0: 40 – 1:00s • Bar 9 – 10 Restates the theme an octave lower marked piano this is repeated in Bar 10 although the semi-quavers move upwards from G♭ to D♭ rather than down.
• Bar 11 – 12 smooth scale like runs based on B flat …show more content…
• Bar 15, tenuto marked on e flat repetitively incorporating the chromatic ornamental pattern from bar 2, (diminuendo rall).
• Bar 16 tenuto note moves through D to C moving to a chord of G flat Minor to release on D flat with an octave leap.
17 – 18 1:14 – 1:22s • Repetition of notes from bar 16 – 17 jumping to middle E Flat at the end rather than a low D flat
19 - 22 1:23 – 1:33s • bar 20 from the E flat there is a scale like passage consisting of E flat, F, G flat, A flat, B flat, C flat, D flat pausing on the A flat then on the B
Syrinx by Claude Debussy https://www.youtube.com/watch?v=b-9xGnbBHMI Background:
Syrinx is an essential part of music for any Flautist’s repertoire. Syrinx was written by Claude Debussy in 1913, allowing the performer generous room for interpretation and emotion. The piece acted as a fundamental role in the development of solo flute music in the early 20th century. The piece is commonly performed off stage as Debussy dedicated the piece to flautist Louis Fleury, for him to play during the interval of one of Debussy’s ballets. Syrinx was written as incidental music to the uncompleted play Psyche by Gabriel Mourey originally titled ‘Flute de Pan’ however, about the myth of the romantic pursuit of the …show more content…
• Tenuto notes on B flat, A flat and G flat
• Motif ends on a descending contour in semi tones, returning to a high B♭ (decrescendos are in place to emphasize descending contour)
3 – 7 0:12 – 0:39s • Bar 3 is a restatement of Bar 1
• Development of Bar 2 pitched down an octave (inverted) then broadly repeating the first 3 notes 3 times (gradually) with the first note moving up a semi-tone each time (ascending contour) concluded with a re-statement of the first four notes of bar 4
• This introduces B♮ or C♭, incorporating a scale of A♭, B♭, C♭, D♭, E♭, F♭, G♭, A♭, B♭, C♭, D♭, E♭.
• Bar 5, 6,7, ascend through an arpeggio taken from D♭m7. This includes very subtle rhythmic phrasing, marked piano. Sustained high notes in Bars 6 – 7 take the pitch up to a high E♭, then descending to the original B♭, to bring the first section to an end with a double bar line.
Un Peu Mouvementé (Mais Trés Peu) – Section 2
Bar Time section starts Comments
8 – 13 0: 40 – 1:00s • Bar 9 – 10 Restates the theme an octave lower marked piano this is repeated in Bar 10 although the semi-quavers move upwards from G♭ to D♭ rather than down.
• Bar 11 – 12 smooth scale like runs based on B flat …show more content…
• Bar 15, tenuto marked on e flat repetitively incorporating the chromatic ornamental pattern from bar 2, (diminuendo rall).
• Bar 16 tenuto note moves through D to C moving to a chord of G flat Minor to release on D flat with an octave leap.
17 – 18 1:14 – 1:22s • Repetition of notes from bar 16 – 17 jumping to middle E Flat at the end rather than a low D flat
19 - 22 1:23 – 1:33s • bar 20 from the E flat there is a scale like passage consisting of E flat, F, G flat, A flat, B flat, C flat, D flat pausing on the A flat then on the B