Claude Debussy, The Sunken Cathedral Benward, pp. 257 ff. Discussion Questions 1.

What type of motion (voice leading) is most prominent in mm. 1-7?

2. Benward suggests that the scale used in m. 5 ff. is E Pentatonic {E,G,A,B,D}: how does this scale relate to the G Pentatonic scale {G,A,B,D,E} used in mm. 1-2?

3. Compare the chord structure of the quarter note chords of mm. 14-15 to that of mm. 12: how are they similar/different?

4. Compare the chord structure found in mm. 29-40 with those found in mm. 1-2, 14-15, 16-17: how are they similar/different? How is the type of motion (voice leading) similar or different?

5. Measures 40 and 41 present a 3-note motive {C-D-G} that is drawn from the first three notes of the melody heard beginning in measure 28. How does this melodic motive relate to the type of chords used in the measures which follow (mm. 42-25)?

6. Examine the melodic motive used in m. 59 {C-G-F} and again in 61: how does it relate to the melodic motive used in mm. 40-41?

7. Examine the harmonies used in mm. 62/3 64/1. This is the only place in the piece where _________ chords occur. The type of chords used here are very traditional, but describe how they are used in a non-traditional manner.

8. The right hand of mm. 72 ff. presents the same melody as was heard in mm. 28 ff. Describe the role the left hand plays in the harmonic structure of this section. (Hint: how does it relate to motives or harmonies weve heard earlier in the piece?)

9. While there are many reasons why the tonality of various measures or sections are vague or ambiguous, the piece as a whole is certainly very tonal (has a clear tonal center). However, the tonality is achieved by non-traditional means. What is the tonal center of the piece and how is it achieved?

10. What are some compositional devices Debussy uses to paint the legend of the Sunken Cathedral through sound?