Summary Nuages and Impressionism

Rotation 1 (1-10) Rotation 2 (11-28) Rotation 3 (29-56) Rotation 4 (57-93) Rotation 5 (94-102)
X  1-4  11-16  29-32  57-63  94-97
 B octatonic lower  Starts same as r1 but  Most contrasting  More like r1 but w/  Much more
part strings rather than presentation of X new melody against fragmented + darker
 B minor upper part woodwind - Slightly different main X idea in viola orchestration of X
 A natural in lower  Bar 14 parallel melodic profile  Parallel dom7ths in trails over G pedal
chrom to B oct dominant 9ths - Pure triads (not 61+63 initially
 Weakly establishes  Bar 14 melody based dom9ths)  Whole tone idea in  B96 pedal moves up
B as tonal centre on overlappeing eb + - Ends b62 (echoed in b66) to B where idea fades
gmin pentatonic scales unexpectedly on out in vague rumbling
 B15 falling 5th idea in Cmaj chord b31  Pedal change creates
bass dissonance
Interpolations  17-20  33-42  64-79  98
 Idea based on dmin  Crotchet motion  B section  All ideas in r5 are
pentatonic melody reminiscent of X in  Melody in d# pent fragmented +
(except single e + bb) strings in sparse 2-  Expanding idea from shortened suggesting
anticipates B section part counterpoint w/ middle r1 a coda function esp
 Dominant g9 harmony 8ve unison in wind  Includes falling 5th here
followed by eb9  Together create idea from b15  1 bar fragment of B
whole tone feel but  D# drone moves to g# section from r4 over
chrom passing notes in middle cont. oscillation of B +
in ww  B77 repeats D in timpani
 B37 octatonic pentatonic fragment
 More octatonic at (B2 from r3)
b40 to link into Y
Y  5-10  21-28  43-56  80-93  99-102
 Cor anglais foghorn  Dom g9 harmony  CA melody now  CA melody exact  Skeleton version of Y
motif melody- pure continues now as accomp by g7 chords same as r3 but darker w/ just g7 sonority +
B octatonic accomp to CA melody alt w dissonant orchestration of falling tritone
 G7 in 1st inversion (b from r1 chords suggesting b13 accomp g7 sonority remaining
drone bass) main  Octatonic except 9th (a)  B drone back  Different chords from  Ends on B (same
sonority itself thus g acoustic  B51 CA goes back into B octatonic change centre as opening)
 CA melody in 4/4 vs scale 6/4 + expands 2 note colour  G7 sonority just
prevailing 6/4-  B23 falling tritone idea horn idea from b50 - C#7 b82 + e7 b86 before makes ending
metric dissonance rep span of mel from f- (B2) - Both have chrom very tonally unstable
b  Bass descends by step appoggiatura of
 No drone from b-f (same span d# + f#
as mel) ending ambig  B82 falling tritone
 B88 B2 as before