One aspect of this network was discussed by James approaches e. This sounds plausible, but for many listeners it is the 2. Nuages is the first movement of Nocturnes for orchestra composed — As far as we assume, the composition of 2.
How- musical forms. In the I am working on three Nocturnes for violin and orchestra that case of Nuages, the relevance of colours was confirmed by the are intended for you. On another occasion, combination of both these groups.
In an Nichols , It is obvious that Nuages is a study : of the different nuances of colours, and — if we accept this The title Nocturnes is to be interpreted here in a general and, analogue — a study of musical timbre. Therefore, it is not meant 2. Nuages renders the immutable aspect of the sky and the Nuages from the perspective of timbre.
This analysis is part of slow, solemn motion of the clouds, fading away in grey tones his extensive book Sonic Design, in which properties of timbre lightly tinged with white. This approach was taken on and discussed by other authors. However, in 2 the case of Debussy it seems questionable whether this approach can be See e. Instead of relating to the traditional form successfully implemented.
First, he describes the process of registral change Cogan , Here, the principal motion of Nuages Arturo Toscanini, NBC Symphony Orchestra through six different registers is reproduced.
Cogan In a further step, he elaborates on the acoustic properties of orchestral sound and distinguishes different phases. The piece opens with phase 1: In the beginning, a pure quality of sound is dominating which reminds us of sine wave tones see p.
In phase 2, the intensity of the higher partials, roughness and brightness increase. Phase 2 consists of stages 2 p. In phase 2, the higher interference of partials is a result of the higher tessitura, full instrumentation, but also of the divisi setting. In phase 3, spectral intensity decreases again see stage 5, p.
This comparative process of analysing and listening from If we consider the overall curve of brightness and roughness, the perspective of timbre leads to the following results: At the we see that brightness and roughness are most intense in the beginning and end of this piece an ambivalent quality of sound middle phases of the piece see ex.
Two different focal areas of harmony are present ex. This ambivalence is supported by the refined use of timbres. The harmony of MIRtoolbox the first two bars can be traced back to a modal scale based on b. This change of harmonic orientation is Lartillot In order to manage the complexities of sono- continued in bar 5, where the third g—b is reached in the clar- gram analysis and to exclude accidental misinterpretations, inets and bassoons.
Due to the analogous instrumentation of g4 , In this context, let us now discuss selected timbre and b4 in bar 6 horn and flute are combined , no reason ac- analyses of the passage bars 5—8, beginning with the Ashke- tually exists for a different intensity of the pitches.
Differences nazy recording ex. The sonogram analysis of the seconds 16—32 shows that in this recording the pitch g4 at about Hz is most intense.
The g3 of the horn which is played one octave below, should actually be more intense the partial richness of the horn is high , but obviously the first partial of the horn combined with the flute leads to the resulting strong g4. Therefore, during the first six bars the orientation turns from b to g, which is confirmed by close listening. When the muted strings enter, the situation changes: The Ex. The g4 is played by a small number of the violins, but the instruments are muted, and therefore the sound is less intense.
There is an octave doubling g3—g4 with the second clarinet, but the support from below is weak because the formant region of the clarinet is much higher than g4.
As far as the intensity of partials is concerned, the interconnection of clarinet and muted string instruments is not strong, and g5, which is also played by the muted violins, is likewise not in the foreground.
The b4 is stronger because it is played by the first clarinet and reinforced by the first partial of the French horn b3. Moreover, this sound is complemented by a timpani roll on b2, and by the b6, which is present in the upper voice of the muted violins. Consequently, at second 26 of the Ashkenazy sonogram, b4 at about Hz is more intense than g4 at about Hz.
Ad- ditionally, f5 at about Hz is important this is the first and third partial of the bassoons, which play f3 and f4. In the Boulez niques, or of recording quality — especially when dealing with sonogram, b4 is intense from the beginning of the analysed historical recordings.
Altogether, the balance of timbre is quite diverse across the four recordings, but there are also some common properties: In 3 For the discrimination of the octaves, not German notation, but scientific bar 5, the pitch g4 is strong. With the entrance of the muted pitch notation is used. As a result, we perceive an playing b2, and the third partial of this pitch is b4. The main ambivalent situation: The first two bars are based on the pitch b, formant of the bassoon is situated between g4 and e5 Mertens and in the following bars, g comes into the foreground.
This , 57 with the centre a4. Therefore, b4 is near to the centre passage can be analysed by reference to an acoustic mode on g.
This leads us to the ques- tion of whether this passage is orientated towards the central pitch b or g. This leads to the conclusion that the first eight bars tend toward an ambiguity of sound which can be listened to in dif- ferent ways.
In the middle passages of the piece, Debussy prefers har- monic constellations which sound warmer than the beginning — e. A further passage Ex. In the Boulez sonogram ex. This confirms the previously outlined view that at the beginning and end of Nuages, there exists a fragile balance between different Ex. The final part bar 80ff. In the Ashkenazy sonogram we observe a high rhythm and timbre, the listener is reminded of bars 5—8, which intensity of c6, the second partial of f4, at about Hz.
This have already been analysed above. However, the sonogram of partial is situated in the formant region of the French horn the Ashkenazy recording ex. Therefore, not only b4 is intense, but there is an additional bars 80—82, b4 about Hz is stronger than g4 about conflict between b4 Hz and c6 Hz which may Hz.
This can be explained by the following: The bassoon is contribute to the dissonant effect of this sound constellation. Tremolo and timpani sound increasingly dominates. Thus, the Chowning, John, The sonogram analyses presented here demonstrate that the Fulcher ed.
Work Title Nocturnes Alt ernative. Fromont , Plates E. Duration 26 minutes Composer Time Period Comp. Period Romantic Piece Style Romantic Instrumentation female chorus wordless , orchestra 3 flutes, 2 oboes, English horn, 2 clarinets, 3 bassoons 4 horns, 3 trumpet, 3 trombones, tuba timpani, snare drum, cymbals, 2 harps, strings. Nocturnes ; For female chorus, orchestra ; Scores featuring female chorus ; Scores featuring the orchestra ; For chorus with orchestra ; For 2 pianos arr ; Scores featuring the piano arr ; For 2 players arr ; For piano arr ; For 1 player arr ; For wind band arr ; For orchestra without strings arr ; Scores featuring wind band arr.
Contents 1 Performances 1. Source: Internet Archive. Javascript is required for this feature. Pub lisher. Holograph manuscript, n. Editor First edition. Paris: E. Fromont , Plate E. Color scan. This is the first edition of the full score and does not contain Debussy's revisions of orchestration. Recordings usually use the revised orchestration. Editor First edition reprint. This file is part of the Sibley Mirroring Project.
Leipzig: Edition Peters , New York: E.
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