This Is My Programme Notes, Please Have A Look, hope someone can proofread it for me, many thx Options

[pianist_1210]

Thankyou soooooooooooooooo much!! (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif)
Yes....i do think that it is a bit to wordy and colliqual-like.....and sure'y my grammar is terrible(considering that English is not my mother tongue).

Thanks for saying that some of the content is interesting (IMG:style_emoticons/default/rolleyes.gif)
However I insist that I did not copied any of these from anywhere else...but I can tell you that my english tutor had help me with some of the re-phasing of the sentences....like "Debussy had his own remarkable way of composing – the composer writes music, but it is the listener who must find their own meaning in the melody."

The cites which I found all these informations comes majorly form my music class at school (as we are studying Bach and his Well Tempered Clavier....co-incidently...) and for the imformations of Schubert and Debussy, I found on the net...
So how can I state the cites?? Do I have to include a bibiolography of something like that attach to the Programme notes??
Or do I just say it when the examiner ask me in the Viva Voce??
And what possible way(s) I can trim this down by 200words?? (IMG:style_emoticons/default/blink.gif) (IMG:style_emoticons/default/blink.gif) (IMG:style_emoticons/default/unsure.gif) (IMG:style_emoticons/default/sad.gif)

But Thanks Very much anyway...I really need you guys' help since I had no teacher to help me with these.(IMG:style_emoticons/default/sad.gif)

[mrbouffant]

I didn't realise English wasn't your first language, so on that basis I have to say it's a good starting point!
By "cite" I mean, make a citation of your source. i.e. properly quote passages which are not your own work and make reference to where you found them. There are specific conventions for citing Internet Resources.

If you can get a copy fairly quickly, look for Trever Herbert's "Music in Words" book (published by the ABRSM) which covers all this very thoroughly.

You can easily trim 200 words by reducing your technical analysis of each work. The Bach especially is too much for your general concert goer. Save some of the choice facts for your Viva. Don't put it all into the written work, you need to save yourself some space to talk to the examiners and display your knowledge!

[pianist_1210]

So we'll have to remember them.... (IMG:style_emoticons/default/unsure.gif) to tell the examiner in the viva voce??
you know when you say "cite"... is it like (“The Sunken Cathedral”) being one of the twenty-four Preludes which belongs to “the lost city of Y's - that sunk to the bottom of the sea as punishment – the message in the music emerges for a brief moment each morning to remind the people of their sins, but then slowly re-submerges. The cathedral bells and monks' chants may be heard through the mist of dawn.”-(found this imformation from www.whateverwhatever.com)

Like this?? (IMG:style_emoticons/default/huh.gif)

[AnotherPianist]

my question is, truly, if some of the work in my programme notes is orginally from YAP's, will I get penalised in the exam by posting it in the forum?

Do you see what I mean?

I am going crazy now...

As people have said posting YAP's programme notes in the forum will not get you in trouble (except maybe with the moderators): technically he owns the copyright and could complain, but he won't. Will you get in trouble for pasting the notes on the Beethoven, in theory yes, in practise most unlikely, except maybe a PM from the moderators to explain that you're not allowed to do it. It won't be anything to do with your exam.

We're not just being nasty trying to stop you from plagiarising in the exam: if one is caught plagiarising in any external school exams or university exams one can be disqualified from the whole course, furthermore from taking any other courses because it is classed as cheating. I don't suspect that you're being malicious in trying to copy and cheat, I suspect it's more likely to be a lack of understanding of the difference between using a source for reference and copying it. The best thing to do, as MrB says, is to read a lot of sources (at least 5, preferably as many as possible) and then put all that material away and write from your head including information (but not literal quotes) from as many of them as possible. If you do wish to quote a source, that's fine, simply put it in quotaton marks with a footnote stating the origin of the quote.

If you try to use these notes in your exam it's likely that you will be caught (since the AB are now aware of the matter) and if so you will certainly be disqualified from the exam. If, however, you write some notes in your own words and take them to the exam then everything be fine (IMG:style_emoticons/default/smile.gif).

What source did the Gershwin notes come from by the way?

[mrbouffant]

So we'll have to remember them.... (IMG:style_emoticons/default/unsure.gif) to tell the examiner in the viva voce??
you know when you say "cite"... is it like (“The Sunken Cathedral”) being one of the twenty-four Preludes which belongs to “the lost city of Y's - that sunk to the bottom of the sea as punishment – the message in the music emerges for a brief moment each morning to remind the people of their sins, but then slowly re-submerges. The cathedral bells and monks' chants may be heard through the mist of dawn.”-(found this imformation from www.whateverwhatever.com)

Like this?? (IMG:style_emoticons/default/huh.gif)

The bit about the "programme" for this piece is actually written into the score isn't it? Or at least the preface to the volume in which it was published.

That aside, you could use a footnote to cite it without using a separate References and Bibliography section. Google the "author date system" for examples of how to do it.. (or get the Herbert book)

[YetAnotherPianist]

\cite{grove} (IMG:style_emoticons/default/wink.gif)

[mrbouffant]

LOL

[della]

I'm not of diploma level myself, far from it. I am interested in music and read concert programs, CD booklets and magazine articles. From my understanding of the page on 'Writing Program Notes', that is the level you are aiming at writing for at diploma level. I don't have enough knowledge myself to comment on the accuracy on information in your notes, but can comment on their readability, grammar etc.

In general I found your notes interesting and well written and would be glad to have these notes at a recital.

probably the most famous composer ever known,

He married twice and had twenty children.

,which caused him to have bad eye sight and to go blind in his last year or so of his life.

These are all interesting information but could probably be left out considering you're trying to reduce the number of words.

I would like to read a description of the meaning of "Well Tempered" but you could cut the details about the windings if the number of words is too high.

The Prelude begins with flowing melodic lines of semi-quavers, which remains consistant in the entire Prelude. With the natural rise and fall of the melody, which suggests emotions.

This should read "which remain constant".

With the natural rise and fall of the melody, which suggests emotions.

This is not a sentence on its own so I'm not sure what it means.

Bach was not well known as a composer in his living days

As has already been pointed out, this sounds odd in English.
You could try -
Bach was not well known as a composer during his lifetime
or
Bach was not well known as a composer whilst alive

The fugue has rather sophisticated fingerings to ensure that all the parts can be played as if they are each played by a solo melody instrument.

I'm not really sure I would want to know how technically difficult a piece is to play, that's the problem of the performer.


I've heard La Cathedral Egloutie played in a recital and thought it was absolutely magical.

At age 46, late in life, Debussy married his wife Emma in 1908 and the following year Emma gave birth to his and only daughter Claude-Emma nicknamed "Chou-Chou".

This information could be left out unless you relate it to the time at which Debussy wrote the prelude.

Debussy illustrate that he was inspired by poetry of his friends from which he created musical melody; mainly the poems of his closest two friends - Paul Verlaine and Pierre Louys. Inspirations came to Debussy; the Impressionists - Monet and Renoir attempted to paint ‘light and atmosphere’, Debussy’s music was recognised for its various unusual harmonies mixed with unresolved dissonances.

You could leave out the words 'illustrate that he'.
I don't really understand the link between Debussy and Monet and Renour.

Debussy wrote his 24 Preludes between 1909 and 1913.The “La Cathedrale Engloutie” (“The Sunken Cathedral”) being one of the twenty-four Preludes

You probably don't need the words 24 Preludes twice. If you to then decide whether to write 24 or twenty-four and be consistent.

“the lost city of Y's - that sunk to the bottom of the sea as punishment – the message in the music emerges for a brief moment each morning to remind the people of their sins, but then slowly re-submerges. The cathedral bells and monks' chants may be heard through the mist of dawn.”

You probably would be better writing your own description of the myth rather than using this quote, especially as the lost city is Ys (without the apostrophe) and mentioning the cathedral emerging from the water every morning and the bells being heard.


Remember that these comments are all my personal opinion only. Also bear in mind that your original notes were very good indeed and it's just because I'm a perfectionist that I'm offering suggestions.

[AnotherPianist]

Okay since you PMmed me to ask for comments, here they are. Sorry if I repeat what MrB has already said but it's quicker for me just to comment again rather than cross reference.


Johann Sebastian Bach (1685 Eisenach - 1750 Leipzig)

“The Well-Tempered Clavier”-No. 12 in F minor

Johann Sebastian Bach, probably the most famous composer ever known, was admired for his excellence of contrapuntal writing, adventurous harmonies and fancy melodic lines. As a composer who was born of a large ancestry of Bachs covering six generations from 1580-1845,he was largely self-taught by copying numberless scores of earlier great composers, which caused him to have bad eye sight and to go blind in his last year or so of his life. He married twice and had twenty children. Bach was not well known as a composer in his living days, instead, he was more recognised as a virtuoso organist. His music was ignored after his death, even by his own sons. Thanks to Mendelssohn who revived his music a century later, and his popularity has continued to grow in the present day.

“The Well Tempered Clavier” is two books of compositions containing 48 Preludes and Fugues (two in every major and minor key), written to demonstrate the advantages of tempered tuning. Bach had his own tuning system and it is actually hidden in the cover of the “Well Tempered Clavier”. The secret lies in the upper line of the loop windings that were thought to be decorations of the title page-discovered by Bradley Lehman. The number of windings in each loop represents the turns of tuning starting from C then down a perfect 5th then so on. “The Well Tempered Clavier” is written for non-specific keyboard instruments and they were not only written to demonstrate the well-tempered tunning, but also used for teaching purposes.


This biography is okay, but a little long for general information the second paragraph here is better, specific biography to the piece but I would cut down the first one quite considerably, for example is going blind at the end of his life relevant to WTC? What about children and marriage: did that affect it (maybe through teaching but you've got that later on). Also did Bach's sons (or at least one of them) not help Mendelssohn to revive his works? I'd emphasise the teaching point a little more, not necessarily put more in, just move it to a more prominant place.

This twelfth Prelude and Fugue is in the first book of “The Well Tempered Clavier”, which is written when Bach was the conductor in charge of chamber music in the court of Cothen (1717-1723).

I don't really like this sentence, it gives the context of when the piece was written but could be better worded and shorter (since you're not linking the activities to any effect they had on the piece)

The Prelude begins with flowing melodic lines of semi-quavers, which remains consistant in the entire Prelude. With the natural rise and fall of the melody, which suggests emotions a bit vague, which emotions, what do you mean?. This Prelude is an allemande(a stately dance in 4/4, flowing in character although without the characteristic upbeat(s) decide: put this in or leave it out no brackets).
good description though (IMG:style_emoticons/default/smile.gif)

The Fugue consists of four parts in purely in a fugal form which gives it strength, dignity, and solemity. In the exposition the main theme is played by one part after another. The main melody is firstly brought out by the higher part of the bass clef (as if the tenor part), then it is given to the lower part of the treble clef (alto), then the lowest part of the bass clef (bass) part and finally the higher part in the treble part (soprano). After the main theme has been carried out in all of the four parts, the music then undergoes the development, during which a new theme comes up is introduced. The fugue has rather sophisticated fingerings to ensure that all the parts can be played as if they are each played by a solo melody instrument. Perhaps you could cut this sentence Although the key of this Prelude and Fugue is in F minor, Bach deliberately ends both of the Prelude and the Fugue with a tierce de picardie (raising the minor third to a major third) to give the piece a satisfying ending.there's a greater reason than this...

it's good that you've done this analysis: it's often commented that programme notes are weak if they don't contain analysis and you've made a good attempt. I think this is a bit technical even though you've generally avoided the terms. Perhaps put opening in brackets after exposition to explain to the listener where this occurs. The sentence about the parts entering could perhaps be made to sound less complex by stating the melody first appears in the <whatever part> the remaining parts enter in the following order: <list>. I think the restructuring would make it sound much less technical.

Overall quite good though, especially in a second language (IMG:style_emoticons/default/smile.gif).

Didn't realise how long this would take, I shall look at the other parts later (IMG:style_emoticons/default/smile.gif).

[mrbouffant]

Sorry if I repeat what MrB has already said but it's quicker for me just to comment again rather than cross reference.

Just as long as you don't plagiarise me (IMG:style_emoticons/default/tongue.gif) (IMG:style_emoticons/default/tongue.gif) (IMG:style_emoticons/default/wink.gif)

[AnotherPianist]

Sorry if I repeat what MrB has already said but it's quicker for me just to comment again rather than cross reference.

Just as long as you don't plagiarise me (IMG:style_emoticons/default/tongue.gif) (IMG:style_emoticons/default/tongue.gif) (IMG:style_emoticons/default/wink.gif)

(IMG:style_emoticons/default/laugh.gif) I'll be careful (IMG:style_emoticons/default/wink.gif).

[AnotherPianist]

Franz Schubert (Austria, 1797-1828)

Piano Sonata No.5 in A, D.644
Allegro moderato
Andante
Allegro

Franz Schubert, was the son of a schoolmaster, he showed an astonishing talent for music in his childhood, studying the piano, violin, organ, singing and harmony and, while a chorister in the imperial court chapel, studied composition with Salieri (1808-1813) lose the date*. He and his friends/ colleagues frequently gathering for domestic evenings, playing his own music (called “Schubertiads”). This group not only represented the new fact of the rising middle class as educated, musically aware: it gave him an approving audience and important contacts (i.e. the Sonnleithners and the baritone J.M. Vogl)are these two relevant to this piece? If so how? If not don't mention them?. Most importantly it helped him to build up his confidence in 1818 to break with his fate of school teaching. This gave him more time to compose - songs, and instrumental pieces and creative piano sonatas.

Good, I like this just a few English quibbles (IMG:style_emoticons/default/smile.gif)

This Piano Sonata in A major reflects his lyrical style of composing, especially in the first and the second movement. In the first movement, the music has a special flow but the melodic line is being harmonised by an unusual number of widely-spaced chords. Since some of them are too big for most players to stretch, there can be no doubts that Schubert intended them to be played as quickly, broken chords wherever necessary. Despite of the melodic flow, the movement is not fully (wholly, only? I think you need a different word here) a chain of ‘song-like’ melodic lines; the music builds up to a climax which suddenly turns into a passage of savage octave playing swapping between the two hands, then sooths back to the gentle and flowing melody.

In the beginning of the second movement, the melody is backed up by the homophonic playing (melody with accompaniment), then the music breaks to a more flowing passage on the same theme but with the Alburtis bass as the accompaniment, this gives the change of mood from calm, simplity to more decorative and more expressive.

In the last movement, the start of the music proclaims a positive mood. The movement is quick, busy and playful, and also is lively to the listeners. The episode in this movement (which is the waltz-like section after one bar of separation form the main theme) gives it the graceful mood as a relief from the playful theme. The melody in this episode on the treble? is repeated later in the bass. In the start of the second section of the movement, the music modulates from the original key to it’s relative minor(vi), which is famous in Schubert (do you mean something Schubert is famous for?), to show the mood change from cheerful to depressing. Eventually the movement ends with the main theme.

Very impressive analysis, I'm really impressed if you managed to do this yourself (IMG:style_emoticons/default/smile.gif)

Claude Achille Debussy (St. Germain-en-Laye, 1862 – Paris, 1918)

Prelude no.10 from book 1 – “La Cathedrale Engloutie”

When music lovers mention the era of “Impressionism” the name Claude-Achille Debussy instantly comes into mind. Debussy was born in St. Germain-en-Laye, a Paris suburb, in 1862. Although he didn’t have much chance to be formally educated in his childhood, he was nevertheless a gifted music student. Debussy is famous for splendid piano playing as well as a display of musical imagery – delicate theme catching melodies that are remarkably Claude Debussy. At age 46, late in life, Debussy married his wife Emma in 1908 and the following year Emma gave birth to his and only daughter Claude-Emma nicknamed "Chou-Chou".

As a young music student Debussy rejected traditional musical theory. He declared to the music world "There is no theory. You have only to listen. Pleasure is the law."what is the source for your quote? Debussy had his own remarkable way of composing – the composer writes music, but it is the listener who must find their own meaning in the melody (is this another quote?).He wanted his music to sound improvisatory, as though it had not been written down. Debussy illustrate that he was inspired by poetry of his friends from which he created musical melody; mainly the poems of his closest two friends - Paul Verlaine and Pierre Louys. Inspirations came to Debussy; the Impressionists - Monet and Renoir attempted to paint ‘light and atmosphere’, Debussy’s music was recognised for its various unusual harmonies mixed with unresolved dissonances. Otherwise said Debussy felt his music in the way that the completed work was new to the music world of the day.


Again this biography is good but it is way too long: which parts of it are relevant to the piece in question? general biography should be very brief. We need to know about him and his composition style and maybe a sentence about his childhood/learning if it's relevant, but not his whole life. Did the people you speak of inspire this piece? Also I get the impression there's some quoted material that you've missed.

Debussy wrote his 24 Preludes between 1909 and 1913.The “La Cathedrale Engloutie” (“The Sunken Cathedral”) being one of the is one of these twenty-four Preludes which belongs to “the lost city of Y's - that sunk to the bottom of the sea as punishment – the message in the music emerges for a brief moment each morning to remind the people of their sins, but then slowly re-submerges. The cathedral bells and monks' chants may be heard through the mist of dawn.”[b]where is this from? Perhaps you should state this in your own words rather than quoting: it's quite a long quote: we want to see your writing: or maybe state that it's the story before you quote it, the quote just appears apparently randomly Debussy was inspired by this disastrous story and captured melodic themes to highlight the mythology. Hence, in music terms, the piece is programmatic (“to evoke extra-musical ideas, images in the mind of the listener by musically representing a scene, image or mood”- Wikipedia definition) rephrase this in your own words rather than quoting, it's quite a standard definition. The music ends with the sound of the beginning “Dans la sonorite du debut”why do you say this?. This piece of work is noticeable for its consistent bass notes that are to be held all over the piece together with the higher left hand part. It is impossible to hold the long base notes while playing other notes in the same hand, but such a daunting task (sounds slightly dramatic for the difficulty of what's involved!) maybe (space in may be) achieved by using the selective sustain pedal on a grand piano do you mean the sostenuto (middle) pedal? If not why a grand piano? If so, say that instead), which is rare in many piano music but but not in Debussy – as he is a music genius who explores unique things.that's a big statement: be prepared to defend it!

I think this last paragraph could be made quite a bit clearer: it doesn't seem to string together naturally

A minor point: it's usual to use the first names of composers who are stil alive; and the only the surnames of composers who are now dead when naming them in the title (except for Bach, who usually has initials, since there were so many of them...).

Overall I think you've done quite well (IMG:style_emoticons/default/smile.gif). The second two sets of notes seem a lot stronger than the notes on the Bach too. I think if you cut down on the biography a bit it you will be able to fit the word count without losing any important information (IMG:style_emoticons/default/smile.gif).

*MrBouffant forums.abrsm.org (IMG:style_emoticons/default/wink.gif).

[pianist_1210]

Thankyou both AP and mrbouffant. (IMG:style_emoticons/default/smile.gif)
I feel like that I'd just had an English Tution (IMG:style_emoticons/default/laugh.gif) (IMG:style_emoticons/default/laugh.gif)
but that's great that you guys pointed out my mistakes...so I will be less like to get mark down on them.
In terms of citation...if it is from an internet source, is it ok just to put (website,author,date)??
Also for the Debussy prelude story....I don't have a single clue what it means and where the story actually came from...so how can I possible put it in my own word?? (IMG:style_emoticons/default/unsure.gif) (IMG:style_emoticons/default/unsure.gif)
Does anyone know by any chance??

PS. Mrbouffant: I've sended the script to you via hotmail, yes it is a word document but i think there is an automatic message sended to me saying that it'll be delayed...so have you recieved it yet by any chance??
If not, I'l send it again.

[pianist_1210]

here are my official ones after the changes...

“The Well-Tempered Clavier”-No. 12 in F minor

by J.S. Bach (1685 Eisenach - 1750 Leipzig)

Johann Sebastian Bach, probably the most famous composer ever known, was admired for his excellence of contrapuntal writing, adventurous harmonies and graceful melodic lines. He was largely self-taught by copying numerous scores of earlier great composers. Bach was not well known as a composer during his lifetime, instead, he was more recognised as a virtuoso organist. His music was ignored after his death, even by his own sons. Thanks to Mendelssohn who revived his music 75 years later after his death, and his popularity has continued to grow in the present day.
“The Well Tempered Clavier” is two books of compositions containing 48 Preludes and Fugues (two in every major and minor key), written to demonstrate the advantages of tempered tuning. Bach had his own tuning system and it is actually hidden in the cover of the “Well Tempered Clavier”. The secret lies in the upper line of the loop windings that were thought to be decorations of the title page-discovered by Bradley Lehman. The number of windings in each loop represents the turns of tuning starting from C then down a perfect 5th then so on. “The Well Tempered Clavier” is written for non-specific keyboard instruments and they were not only written to demonstrate the well-tempered tunning, but also used for teaching purposes.
The Prelude begins with flowing melodic lines of semi-quavers, which remain consistant in the entire Prelude. With the natural rise and fall of the melody, which suggests emotions of the music. This Prelude is an allemande - a stately dance in 4/4, flowing in character although without the characteristic upbeat(s).
The Fugue consists of four parts in purely in a fugal form which gives it strength, dignity, and solemity. In the exposition (opening) the main theme is played by one part after another. The main melody is firstly brought out by the higher part of the bass clef (tenor) , the remaining parts enter in the following order: alto,bass then soprano. After the main theme has been carried out in all of the four parts, the music then undergoes the development, during which a new theme is introduced. Although the key of this Prelude and Fugue is in F minor, Bach deliberately ends both of the Prelude and the Fugue with a tierce de picardie (raising the minor third to a major third) to give the piece a satisfying ending.

F. Schubert (Austria, 1797-1828)

Piano Sonata No.5 in A, D.644
Allegro moderato
Andante
Allegro

Franz Schubert was the son of a schoolmaster, he showed an astonishing talent for music in his childhood, studying the piano, violin, organ, singing and harmony and, while a chorister in the imperial court chapel, studied composition with Antonio Salieri(1750-1825). He and his friends/ colleagues frequently gathering for domestic evenings, playing his own music (called “Schubertiads”). This group not only represented the new fact of the rising middle class as educated, musically aware: it gave him an approving audience and important contacts. Most importantly it helped him to built up his confidence in 1818 to break with his fate of school teaching. This gave him more time to compose - songs, instrumental pieces and creative piano sonatas.

This Piano Sonata in A major reflects his lyrical style of composing, especially in the first and the second movement. In the first movement, the music has a special flow but the melodic line is harmonised by an unusual number of widely-spaced chords. Since some of them are too big for most players to stretch, there can be no doubts that Schubert intended them to be played as quickly, broken chords wherever necessary. Despite melodic flow, the movement is not completely a chain of ‘song-like’ melodic lines; the music builds up to a climax which suddenly turns into a passage of savage octave playing swapping between the two hands, then sooths back to the gentle and flowing melody.

In the beginning of the second movement, the melody is backed up by the homophonic playing (melody with accompaniment), then the music breaks to a more flowing passage on the same theme but with the Alburti bass as the accompaniment, this gives the change of mood from calm, simplity to more decorative and more expressive.

In the last movement, the start of the music proclaims a positive mood. The movement is quick, busy and playful, and also is lively. The episode in this movement (which is the waltz-like section after one bar of separation form the main theme) gives it the graceful mood as a relief from the playful theme. The melody in this episode is repeated later in the bass. In the start of the second section of the movement, the music modulates from the original key to it’s relative minor(vi), this shows the mood change from cheerful to depressing. Eventually the movement ends with the main theme.



C. Debussy (St. Germain-en-Laye, 1862 – Paris, 1918)

Prelude no.10 from book 1 – “La Cathedrale Engloutie”

When music lovers mention the era of “Impressionism” the name Claude-Achille Debussy instantly comes into mind. As a gifted music student, he didn’t have much chance to be formally educated in his childhood. Debussy is famous for splendid piano playing as well as a display of musical imagery – delicate theme catching melodies that are remarkably Claude Debussy.
As a young music student Debussy rejected traditional musical theory. He declared to the music world "There is no theory. You have only to listen. Pleasure is the law."(1) Debussy had his own remarkable way of composing – the composer writes music, but it is the listener who must find their own meaning in the melody.He wanted his music to sound improvisatory, as though it had not been written down. Debussy illustrate that he was inspired by poetry of his friends from which he created musical melody; mainly the poems of his closest two friends - Paul Verlaine and Pierre Louys. Inspirations came to Debussy; the Impressionists - Monet and Renoir attempted to paint ‘light and atmosphere’, Debussy’s music was recognised for its various unusual harmonies mixed with unresolved dissonances. Otherwise said Debussy felt his music in the way that the completed work was new to the music world of the day.


Debussy wrote his 24 Preludes for solo piano between 1909 and 1913. Unlike previous Chopin’s 24 Preludes, Debussy's does not follow a set pattern of key signatures but instead moves through some random keys. The “La Cathedrale Engloutie” (“The Sunken Cathedral”) being one of the Preludes which belongs to “the city of Ys - a mythical city that were built below the water level, protected by a dam.) - that was flooded when the gate of the dam was opened. It is a punishment for the city. Debussy was inspired by this disastrous story and captured melodic themes to highlight the mythology. Hence, in music terms, the piece is programmatic ( to let the listners to think a story by musically representing a scene, image or mood). The music ends with the sound of the beginning “Dans la sonorite du debut”. This piece of work is noticeable for its consistent bass notes that are to be held all over the piece together with the higher left hand part. It is impossible to hold the long base notes while playing other notes in the same hand, but such a difficult task maybe achieved by using the sostenuto (middle) pedal on a grand piano, which is rare in many piano music but not in Debussy – as he is a music genius who explores unique things.




*( http://musical-impressions.net/debussy.html , Grolier Electronic Publishing, Inc., 2005)









Oh and YES!!! HTe final word count says 1219 words!!!!!!!!!

[Fen]

My thoughts on the Debussy :
Didn't he himself hate the term "impressionist" applied to his music - might be something worth looking at to work into your Viva.
The “La Cathedrale Engloutie” (“The Sunken Cathedral”) being one of the Preludes which belongs to “the city of Ys - a mythical city that were built below the water level, protected by a dam.) - that was flooded when the gate of the dam was opened. It is a punishment for the city.
Good that you're getting it into your own words, but it still needs a bit of work, partly because you've got unpaired parentheses. Suspect you can get this into one sentence too - the standalone "it is a punishment for the city" begs a "Why?".
"The music ends with the sound of the beginning" - yes, this is entirely true but this sentence seems orphaned.
Rather than focus on the difficulty of managing those bass notes (I agree with AP - daunting is a little overdramatic!), how about a focus on Debussy's embracing of the technical possibilities the modern piano gives? Might bring you a nice full circle in your notes if you can work some technical innovation into your Bach notes.
"He is a music genius who explores unique things" - have you heard the phrase "red rag to a bull"? This sentence is the equivalent to an examiner I'm sure (IMG:style_emoticons/default/wink.gif) . If you started with this and went on to show WHY, fine, but it's possibly a bit too much of an unsubstantiated superlative to end on. You obviously feel this way about his music, you can show this in your Viva.