Alan Dodson, 'So free as to seem improvised': Rhythmic revisions and kinetic form in Debussy's recording of 'D'un cahier d'esquisses,' in: Claude Debussys Aufnahmen eigener Klavierwerke, ed. Tihomir Popovic, forthcoming from Steiner Verlag.


Ex. 1     score, bars 44-45

Ex 1  score m44-45.jpg

Ex. 2     proportional analysis from Howat, Debussy in Proportion (Cambridge 1983), p. 139

Ex 2  Howat analysis.jpg

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Ex. 3     timing analysis, last two beats of bar 43 to bar 45

Ex. 4     La cathédrale engloutie, bars 5-9

             (a) score

             (b) tempo in Debussy's recording

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Ex. 5     bars 51-53

             (a) score

Ex 5a  score m51-53.jpg

             (b) timing analysis of Debussy's recording

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Ex. 6     proportional analysis of Debussy's recording (compare to Ex. 2)

Ex. 7     bars 45-46 from the recording by Fou Ts'ong

Ex. 8     grouping in the coda

Ex. 9     score, bars 11-28 (first episode)

Ex 9  1st episode score.jpg

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Ex. 10   grouping and tempo in the first episode

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Ex. 11   projection

             (a) simple

             (b) compound

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Ex. 12   processes of metric change

             (a) denial

             (b) deferral

             (c) interruption

             (d) hiatus

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Ex. 13   experiential metre in the introduction

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Ex. 14   score, bars 1-9

Ex 14 intro score.jpg

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Ex. 15   experiential metre in the second episode (up to the hiatus)

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Ex. 16   score, bars 29-37

Ex 16 bars 29-37 score.jpg

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Ex. 17   score, bars 40-45

Ex 17 bars 40-45 score.jpg

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Ex. 18   experiential metre in the cadenza

Score (Schott 1904) with bar numbers and form labels

Sonic Visualiser markup file -- To use this, you must first purchase the recording and convert it to a WAV, OGG, or MP3 file.

Transcription -- No attempt has been made to represent aspects of metric indeterminacy in the recording such as the ephemerality of the various 9/8 bars (see Exx. 13, 15, and 18).