The Use of Sonata Form
The first musical link that can be found between the two pieces is that they are both in Sonata Form. The typical Sonata form is A-B-A (also known as ternary form), where:
Section A
____________________________________________________________________________________________________________________ Section B _____________________________________________________________________________________________________________________ Section A _____________________________________________________________________________________________________________________ Coda (optional) |
Exposition
Development Recapitulation |
1st theme (tonic key)
Bridge 2nd theme (dominant key) The themes of the exposition are elaborated and developed, and move through multiple keys 1st theme (tonic key) Bridge 2nd theme (tonic key) |
Exposition
The exposition in Debussy's 'Doctor Gradus ad Parnassum,' starts at bar 1 and ends at bar 32. The piece begins in the tonic key of C major which is
established by the use of a pedal note on the note C in the bass part. This further defines the tonic key of the first theme which is introduced in bars 1 to 11.
established by the use of a pedal note on the note C in the bass part. This further defines the tonic key of the first theme which is introduced in bars 1 to 11.
The tempo of the exposition section is relatively fast, moderement anime, and the change to a different tempo, animez un peu, in bar 33 helps to define the transition to the development section. When moving into the second theme (bars 12-21), Debussy does not follow the expected pattern of modulating to the dominant key of G major. Instead, he moves to the mediant key, E major, which is established by the E played 'sforzando,' heard in bar 12. In another unusual move that is not typical of Sonata Form, Debussy does not move from the second theme straight into the development section but instead returns to the first theme between bar 22 and bar 32. This is unconventional as normally the first theme would only return in the recapitulation.
Duke Ellington's 'A Gypsy Without A Song,' also follows a ternary form, that many would say is a 32-bar song form. Many musicologists however liken this form to the classical Sonata Form, and many similarities can be found. In this piece, the exposition is also characterised by a first theme and a second theme as in the Debussy. Furthermore, there is no bridge which is also the same as in 'Doctor Gradus ad Parnassum.' In contrast to the Debussy, Duke Ellington presents both the first and second theme (bars 5 to 20) in the tonic key of C major. This is unusual in a standard Sonata Form. The piece does not in fact modulate until the development section, where it moves to the dominant key of G major. In a further contrast to the standard Sonata Form and the Debussy, 'A Gypsy Without a Song,' make use of a 4-bar introduction (bars 1 to 4).
Development
'Doctor Gradus ad Parnassum,' moves into the development section in bars 33 to 36 with four bars of transition material which is slightly unconventional when compared to a traditional Sonata Form. The move into the development section is characterised by a change to a slower tempo also. The development section can be divided into two parts: the transition (bars 33 to 36) and the proper development section (bars 37-44). At bar 33 the piece begins to develop the material heard in the exposition with a modulation to the key of B major, a fairly unusual and distant modulation from the tonic key of C major (7th). In bar 37, the piece modulates again to the key of D major.
The development section in, 'A Gypsy Without a Song,' is muich shorter than the development section in the Debussy as it consists of only 8 bars (bars 21 to 28). It is also much less comlex than the transition section in the Debussy as it modulates only to the dominant key of G major. The sections in the Duke Ellington piece can be clearly defined by the introduction of different soloists in each part. The development section further distinguishes itself from, 'Doctor Gradus ad Parnassum,' as it does not make any use of a change of tempo.
The development section in, 'A Gypsy Without a Song,' is muich shorter than the development section in the Debussy as it consists of only 8 bars (bars 21 to 28). It is also much less comlex than the transition section in the Debussy as it modulates only to the dominant key of G major. The sections in the Duke Ellington piece can be clearly defined by the introduction of different soloists in each part. The development section further distinguishes itself from, 'Doctor Gradus ad Parnassum,' as it does not make any use of a change of tempo.
Recapitulation
In the recapitulation of Debussy's, 'Doctor Gradus ad Parnassum,' (bars 45 to
66), the tempo returns to the original faster tempo of the exposition. In a
move away from traditional Sonata Form however, Debussy does not use all the
material heard in the exposition. Instead he uses only the first theme and then
introduces a new, third theme. Both themes are presented in the tonic key of C
major, which is typical of a Sonata Form recapitulation. Debussy returns to the
tonic key of C major via A minor, the relative minor and dominant of D major.
Debussy ends his piece with a short Coda from bar 67 to 76.
66), the tempo returns to the original faster tempo of the exposition. In a
move away from traditional Sonata Form however, Debussy does not use all the
material heard in the exposition. Instead he uses only the first theme and then
introduces a new, third theme. Both themes are presented in the tonic key of C
major, which is typical of a Sonata Form recapitulation. Debussy returns to the
tonic key of C major via A minor, the relative minor and dominant of D major.
Debussy ends his piece with a short Coda from bar 67 to 76.
In Duke Ellington's, 'A Gypsy Without a Song,' the recapitulation also uses the themes found in the exposition section as expected. The recapitulation is similar to the Debussy as Duke Ellington also chooses not to return to the second theme, and only re-presents the first theme. In contrast however, the recapitulation is much shorter than in the Debussy piece lasting only a total of 8 bars (bar 29 to 36), and having no resolution of the piece with a Coda but simply slowing down the tempo. Ellington's piece does follow the typical Sonata Form, as does Debussy by returning to the tonic key in the recapitulation and refraining from any further modulations.