MUSC 211B Name________________________________

Spring 2019
Take-Home Quarterly—Analysis Portion

Claude Debussy: Prelude to the Afternoon of a Faun (AMA 7th ed. p432; 6th ed. p402)

Listen to the entire work several times while following the score. Pay attention to the broad
outlines and characteristics. As you listen, mark any significant events, such as:

1. Returning themes
2. Introduction of contrasting material
3. Important arrival points
4. Sectional divisions of the work

Answer the following questions. Some questions have more than one part. Be sure to answer all
parts of each question.

1. What is the key? (Use your ear, the ending, and the key signature to determine this.)

2. What is generally lacking that would normally strengthen a sense of key? (What is not
there that would normally help in establishing the key?)

3. Where is the tonic harmony first heard? (Give measure number.)

4. The melody played as the opening flute solo serves an important thematic role.
a. What interval is spanned by this theme in mm 1-2? (only mm 1&2, highest & lowest
notes)

b. When the theme is heard the second time (mm 11-14), it is harmonized. Identify the
chords that occur in the following harmonic rhythm (chord names, not roman
numerals. Include any added tones and be precise with quality):

___ ___ ___ ___ ___ ___ ___ ___

c. The 3rd occurrence is at m 21. Identify the harmony as before (up to the downbeat of
m 22).

___ ___ ___

 d. What happens to the theme in m 23? What interval does it span?

e. When the theme is heard in m 26, what chord is on the downbeat? Does this chord
still have a tonic quality/function?

f. How does the melody of m 27 relate to the theme?

5. Why is the downbeat of m 30 an important arrival point? What is the harmony here?

6. What unusual scale is introduced in the top voice in mm 32-33 (You may refer to your
text, p202)?

7. A new melody is introduced by the oboe in m 37. If the entire measure unfolds a single
harmony, what chord is it?

8. Examine the melody of mm 55-58. If this melody is reduced to a scale with D¨ as the
tonic, what unusual characteristics are found? (What type of scale results? Exlude the C-
flat at the end.)

9. The opening theme returns in m 79. How is it different…

a. In pitch?______________
b. In rhythm?_______________
c. In range (interval spanned)?______________

10. The theme is heard again in m 86. Same set of questions: How is it different…
a. In pitch?______________
b. In rhythm?_______________
c. In range (interval spanned)?______________

11. In what measure does the theme return in its original form?__________

12. Measures 105 and 106 consist of one chord each. What are these chords, and what would
the roman numeral analysis be for these measures?

13. The last four measures prolong the tonic harmony. There is an a©Ø7 embellishing chord
in mm 108 and 109. What type of embellishing chord is this?