Musical Investigation

Debussys Pagodes and L

Wenchengs Autumn Moon Over
the Calm Lake
Both Debussys Pagodes and L Wenchengs Autumn Moon Over the Calm Lake
share similar traits in elements of music such as texture, tonality, melody, rhythm,
and articulation.
In both pieces there is a wide use of polyphonic texture. In Autumn Moon Over the
Calm Lake, polyphony can be seen as early as in bar 3 and onwards, as two
melodies are carried out by both the right hand and left hand. The melody in the
right hand consists of broken chords arpeggios which are played at the same
time as the melody in the left hand, both which are based upon a D flat Major
pentatonic scale. Likewise, Debussys Pagodes also makes use of polyphony which
can be seen first at bar 7. The first melodic idea is carried out by the right hand and
contrasts heavily against the second melodic idea played by the left hand, as these
melodies interweave and are contrapuntal. The use of a polyphonic texture adds
interest and variety for the listener in both pieces, as focus is shifted between the
interweaving melodies. It is also to be noted that in both pieces the polyphonic
texture is placed after a melody dominated homophony section: bars 1 6 in
Pagodes and beats 1 2 from bar 1 in Autumn Moon Over the Calm Lake. This
clearly defines the initial sections of the piece and further enhances the variety and
interest for the listener.
Furthermore, both pieces of make use of a melody and accompaniment texture
beyond the starting bars. In Pagodes, this can be observed in bars 19 22 in which
the melody can be heard clearly and is accompanied by the constant D # - C# - D#
triplet quavers ostinato. In Autumn Moon Over the Calm Lake, the melody and
accompaniment texture is present at the section starting at bar 6, in which the left
hand melody is accompanied by a virtuosic and rapid hemi demisemiquavers
melodic idea. In both pieces the use of a melody and accompaniment allows the
melody during these sections to contrast against the several melodies that appear
throughout the polyphonic sections. This adds again great variety and interest for
the listener and also creates tension as the single melody played during these
sections is emphasized.
Another interesting textural quality that both pieces share is the Impressionismesque sections. Although this is heavily implied in Debussys piece as he was an
Impressionist composer, it is not expected in Autumn Moon Over the Calm Lake,
considering its a piece from of Asian origin. In Pagodes, a very clear Impressionist
texture is seen in bars 23 33. During this bridge section, typical Impressionism

characteristics can be spotted: free flowing melodic lines which move in parallel
motion, loose sense of rhythm created by triplet quaver/quaver ostinatos and an
overall atmosphere which conveys an Asian setting 1. Similar traits can be seen from
L Wenchengs piece in bars 6 10. The use of rapid rising and falling hemi hemi
demisemiquavers sequences and demisemiquavers sextuplets loose the sense of
rhythm. Although this section is not completely coherent with all of typical
Impressionist characteristics, the overall mood which is given by it is strikingly
similar to that in Debussys Pagodes.
The tonalities of Pagodes and Autumn Moon Over the Calm Lake are B major and Db
major respectively. Their keys are similar in the sense that both are ideal for the use
of a pentatonic scale as they both make use of all the black keys on the piano. As
the intervals in-between these keys naturally form a pentatonic scale, it is easier to
compose a piece which uses a pentatonic scale. This is probably the main factor
behind choosing these keys for the composition of each of the pieces; it facilitates
composing and playing the pieces. The use of the pentatonic scales in each piece (B
major pentatonic for Pagodes and Db major pentatonic Autumn Moon Over the Calm
Lake) clearly highlights the Asian-like sound of each piece. Although this is not as
impressive in Autumn Moon Over the Calm Lake as the piece is of Asian origin itself,
Pagodes is a piece of French origin, composed during the Romantic period which did
not really make use of the major pentatonic scale. Nonetheless, the use of this
specific scale in Pagodes allows it to convey a similar atmosphere and mood to that
in Autumn Moon Over the Calm Lake, even if the keys are not the same for both
pieces. In Autumn Moon Over the Calm Lake, the use of the pentatonic scale can be
clearly seen in bar 1 in the right hand arpeggio. Likewise, in Pagodes the pentatonic
scale is used clearly in bars 3-4 in the first melody. It is very important to note that
this is one of the most clear-cut similarities between both pieces: The overall mood
conveyed and created by both of the pieces, regardless of their cultural background,
is very similar in nature thanks to the use of the major pentatonic scale.
Furthermore, it is to be noted that both pieces are based upon a major key, and this
gives the pieces an upbeat and positive atmosphere.
The melodies in both pieces can be described as free-flowing as they are irregular
in their phrases. This is due to the Impressionist-esque mood that both pieces share,
where the main focus of the music is to evoke an overall atmosphere, instead of a
focused and specific depiction, such as in programmatic music where the music tells
a definite story. By having irregular phased melodies, the mood and atmosphere
painted by the melodies can be perceived as much more free and loose, thus
creating a much less detailed atmosphere. The melody is also based upon a
pentatonic scale in both of the pieces, which creates resemblance and a clear link
between both pieces. In Pagodes, the B major pentatonic scale (B, C #, D#, F#, G#) is
used throughout the melody in order to heavily imply a Asian mood and ambience.
On the other hand, Autumn Moon Over the Calm Lake makes use of the Db major
pentatonic scale (Db, Eb, F, Ab, Bb). In both pieces, the use of the pentatonic scale
throughout the melodies sets the Asian-like tone and mood. Two very clear sections
which showcase the features mentioned above are bars 78 79 from Pagodes and
1 https://sites.google.com/site/fhsfafallper67impression/characteristics

bars 6 8 from Autumn Moon Over the Calm Lake. In both sections, there are
pentatonic-based free flowing melodies. The overall structure of both of these
sections is strikingly similar, with rapid sequences played on the higher octaves,
whilst the left hand plays a less eccentric melodic line in order to solidify the key.
In both Pagodes and Autumn Moon Over the Calm Lake, motifs can be spotted
throughout the different melodic ideas. For example, in Pagodes the major 2nds
which appear at bar 31 are used to establish a recurring idea. The use of ostinato
also helps to firmly establish this motif. Likewise, the rising and falling sequence in
beats 1 2, bar 1 of Autumn Moon Over the Calm Lake are used to set the rhythmic
and overall melodic idea for the rest of the section. It can be argued that the use of
motifs in both pieces serve the same purpose: to create continuity and establish
firm musical ideas which the listener can recognize.
Rhythm is an essential aspect of both pieces as it is helps greatly in defining the
mood and atmosphere both pieces: There is a sense of a loose and vague rhythm in
both Pagodes and Autumn Moon Over the Calm Lake. In Pagodes, this can be seen
from the various ritardando indications (e.g. bars 4, 6, 58,) as well as the Retenu
indications (e.g. bars 52, 97). These tempo indications are both used to gradually
slow to the tempo and add a dramatic effect to the piece, which allows for more
expressiveness. Another feature used can be seen at bars 23- 26. The use of triplets
over quaver notes creates a cross-rhythm, which again adds to the sense of a loose
tempo. Likewise, the use of syncopation which starts at bar 41 with the major 2nds
also helps to remove the sense of a clear 4/4 rhythm. Although the tempo is
constant throughout that passage, the syncopation creates rhythmic confusion as it
is juxtaposed against the on-going melody.
Similarly, a lack of clear tempo can be appreciated in Autumn Moon Over the Calm
Lake. This is first made evident by the various tempo indications such as
rallentando, poco ritardando, meno mosso, a piacere and largamente, seen in bars
5, 18, 19, 20 and 21. However, although these help loosen the 4/4 meter they are
not present throughout most of the actual piece. What really gives the piece a
sense of free-flowing tempo is the use of hemi demisemiquavers and
demisemiquavers at a very slow tempo (Lento). Since the tempo is very slow, the
exact beats per minute is not very clear and so the 4/4 time signature is unclear.
Moreover, using hemi demisemiquavers and demisemiquavers at such a slow tempo
gives the illusion that the tempo is actually faster than it is, again making the sense
of rhythm unclear and vague. Overall, the loose and vague rhythm in both pieces
allow them convey an Impressionist-like atmosphere and mood, and the rhythm
itself could be defined as free-flowing, much like the melodies. This unclear rhythm
also adds a great deal of emotion and dramatic effect into the pieces.
There are two articulations which are highly similar in both Pagodes and Autumn
Moon Over the Calm Lake. The first and most evident articulation feature used in
both is the use of legato. It is used in order to make the notes sound smooth and
weaved together, which adds to the atmosphere and mood of the piece. The use of
legato is very extensive, and can be seen in all bars of both pieces. This extended
use of legato adds continuity to the piece as the overall mood all along the piece is
the same, and this can be clearly heard by the listener. Secondly, the use of

dynamics is clearly present in both pieces. In Pagodes, the volume dynamics range
from pianissimo to fortissimo whilst in Autumn Moon Over the Calm Lake they range
from pianissimo to forte. This shows that both pieces have a wide range of volume
in order to allow for expression and to divide climatic sections from the less
energetic ones. Also, crescendos and diminuendos are used in both pieces in order
to create tension throughout. This again adds to the idea of expression climatic
sections. Overall, the use of dynamics allows for expression throughout the pieces
and creates a similar sound in both of the pieces.
In conclusion, although Pagodes and Autumn Moon Over the Calm Lake belong to
two seemingly different cultures, there are many similarities that can be spotted in
both pieces within different elements of music such as texture, tonality, melody,
rhythm, and articulation.

Bibliography
Jak Karls, C. D. (2011). Characteristics of Impressionism. Retrieved from
Impressionism:
https://sites.google.com/site/fhsfafallper67impression/characteristics