Derek's CP Study Guide

🌊

La plus que lente

Claude Debussy (1862–1918)

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🎨 Impressionist

Title meaning

"More than slow" — ironic reference to Strauss's La plus que lente waltz

Key / Form

G♭ major · Rondo (ABACA + Coda)

Style

Slow Viennese waltz — triple time, impressionistic

Composed

1910 — a middle-period work

Structure

Section	Bars	Keys / Description
A	1–34	G♭ major. Begins with 6 bars of tonic minor 9th chord (G♭-B♭♭-D♭-F-A♭); modulates to A♭ minor / A♭ dorian (b.8–15, raised 6th, usually no raised 7th). Tonic minor 9th returns at b.18 (Mouvt), then unison scale passage leads to G♭ major tonic triad with pause (b.32–33)
B	33–59	E♭ minor (relative minor key) — Rubato. Modulates briefly to G♭ major (b.40–41) then to E♭ major (Appassionato)
A	60–75	Main theme returns (Mouvt), different harmonisation. Ends on G♭ major tonic triad
C	75–103	A major — Tempo animé. Based on main theme; passages of parallel 7th chords. Dominant pedal (repeated Es in LH); harmony mostly dominant 9th or tonic chords with frequent chromatic movement (bass rises in semitones, b.76–79)
A + Coda	104–end	Main theme above new dominant 9th ostinato (1er Mouvt) in G♭ major; then in double octaves above tonic harmony. Coda (De plus en plus lent): final statement pp above tonic pedal

Hemiola

Two bars of 3/4 grouped as a single bar of 3/2 — found in many Viennese waltzes
Examples: b.2–3, b.4–5, b.6–7 (RH); b.116–117, b.118–119 (LH)

Impressionist Characteristics

Rondo formModal harmonies7th and 9th chordsPedal pointsParallel triadsDominant 9th ostinatoHemiola rhythmChromatic bass movementDorian mode (A♭ section)Rubato / tempo flexibility

French & Italian Terms in the Score

Lent — slowly; Plus lent — very slow; molto rubato — very much in "robbed" (not strict) time
con morbidezza — with delicacy; retenu — slower; En retenant — gradually slower; Très retenu — much slower
Mouvt — return to former speed; Animez un peu — a little livelier; Tempo animé — animated; En serrant — hastening
Appassionato — passionately; léger — lightly; Cédez — slower; Cédez encore plus — slower still
En animant peu à peu — gradually more animated; più p — softer; De plus en plus lent jusqu'à la fin — slower and slower to the end; morendo — dying away

Key Facts — Debussy

Born St-Germain-en-Laye 1862; studied Paris Conservatoire; won Prix de Rome 1885; studied in Rome 1885–87
Bayreuth 1888–89: brief fascination with Wagner, then utterly rejected his approach
Heard Javanese gamelan music at Universal Exposition Paris 1889 — major influence on his scales and texture
Music critic for La revue blanche and Gil Blas; awarded Légion d'honneur 1903; died Paris 1918 aged 55 (cancer)
Style linked to Impressionist painters (Monet, Manet, Degas) and Symbolist writers (Verlaine, Mallarmé); objected to "impressionist" label
La plus que lente (1910) = middle period; waltz style with Impressionist treatment; uses rondo form common for waltzes
Piano works: Rêverie, Deux arabesques, Suite bergamasque, Estampes, Images (2 sets), Children's Corner, Préludes (2 books of 12), Études, Fantaisie for piano and orchestra, En blanc et noir (2 pianos)
Other works: opera Pelléas et Mélisande; Prélude à l'après-midi d'un faune; La mer; string quartet; violin, cello, and flute/viola/harp sonatas
Contemporaries: Fauré (1845–1924), MacDowell (1860–1908), Delius (1862–1934), Ravel (1875–1937), Satie (1866–1925)

🎹

Rondo in G major, Op. 51 No. 2

Ludwig van Beethoven (1770–1827)

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🏛 Classical

Form

Sonata-Rondo (ABACABA)

Tempo

Andante cantabile e grazioso

Catalogue

Op. 51 No. 2 — published with Op. 51 No. 1 (C major rondo)

Instrument

Written for the fortepiano (transitional toward modern piano)

Sonata-Rondo Form Explained

Combines sonata and rondo characteristics. Main theme (A) = first subject; heard several times in the tonic key, as in rondo
Second subject (B) heard twice: first in dominant key (D major), later in tonic key (G major), as in sonata form
Section C = contrasting episode (E major, Allegretto, compound duple time)

Structure

Section	Bars	Description
A (1st subject)	1–24	G major. Songlike, graceful. Three pairs of 4-bar phrases in rounded binary structure. Contains important demisemiquaver motive (b.2: tied dominant note decorated with lower/upper neighbours + descending steps). Circle of 5ths (B-E-A-D) in b.5–6; V7–I confirms D major (b.7–8). Beethoven's signature cresc. followed by immediate drop to p at phrase links.
Transition	25–36	Variation of b.21–22; sequential extension; hints of E minor → D major. b.32–36: dominant preparation for D major (V7 of V in b.32, 34)
B (2nd subject)	37–60	D major (dominant). Lighter, more playful. Dotted rhythms, detached notes. Hints of B minor, G major, E minor. Triplet rhythm variation in b.52–60. Ends on dominant 7th.
Re-transition	61–74	Returns to G major. Half-diminished 7th (F♯-A-C-E, b.67). Eingang (lead-in) to return of main theme.
A	75–98	Main theme, G major, near-identical to b.1–24. Additional trills.
Transition	99–110	Moves to E minor (relative minor). Augmented 6th harmony (C-E-G-A♯, b.104, 106, 108) → dominant of E minor. Trill prolongation.
C (Episode)	111–158	E major — Allegretto, 6/8. Remote key (mediant-type relationship). Same dominant chord as E minor. Modulates to C♯ minor (relative of E major). Hemiola effect (b.131–133). Re-transition (b.143–158): circle of 5ths (B-E-A-D, b.146–149) → Eingang back to G major.
A	159–182	Main theme, G major. Additional trills; some octave displacement.
B (in tonic)	183–206	Second subject transposed down a 5th (up a 4th) to G major.
Transition	207–221	Hint of C major (subdominant); half-diminished 7th (C♯-E-G-B, b.213); cadential 6/4 prolonged; dominant 7th with trills.
A (partial) + Coda	222–254	Final return begins as b.17–22. Extended V7–I cadence (b.236–238). Coda (b.239–254): only tonic and dominant 7th harmony; tonic pedal; final references to demisemiquaver motive.

Signs and Terms

Andante — at an easy walking pace; cantabile e grazioso — songlike and graceful; dolce — sweetly
T = turn; if accidentals needed, shown above/below sign; ⁀ = acciaccatura (crushed note)
S / sf / sforzando — emphasise the note; > accent mark; double dot — increases note value by three-quarters
Allegretto — moderately fast (the episode, C section); ritardando — gradually slower; a tempo — return to former speed; Adagio — slow; Tempo I — return to original speed
Grace notes in b.118 = written-out slide (Schleifer)

Classical Characteristics

Sonata-rondo formShort balanced phrasesHomophonic textureAlberti-style broken chord accompanimentModulations to dom./relative minorCircle of 5ths (b.5–6, 146–149)Ornamentation at cadences (turns, trills)Thematic developmentAugmented 6th chord (b.104, 106, 108)Mediant key (E major episode)

Key Facts — Beethoven

Born Bonn 1770; studied violin/piano with father (tenor to Elector of Cologne); composition with Christian Gottlob Neefe; became court harpsichordist age 13
Visited Vienna age 17, met Mozart; settled permanently Vienna 1792; studied with Haydn, then Albrechtsberger
Supported by aristocrats — Count Waldstein, Baron van Swieten, Prince Lichnowsky; first major composer to live without court patronage
Began noticing deafness early 30s; "Heiligenstadt Testament" 1802 (document of despair); totally deaf by 1824; continued composing until final months; died Vienna 1827 aged 56
Three periods: early (Classical, light/witty like Haydn); middle (larger scale, harmonic innovation — from Op. 31, Eroica); late (final 5 sonatas, 5 quartets — most profound)
Beethoven's five independent rondos for piano: WoO 48, WoO 49, Op. 51 No. 1, Op. 51 No. 2, Rondo a capriccio ("Rage over a lost penny")
Piano works: 32 sonatas (Pathétique, Moonlight, Waldstein, Appassionata), 5 piano concertos (incl. Emperor), 26 Bagatelles (incl. Für Elise), Diabelli Variations, Eroica Variations
Other major works: 9 symphonies (Eroica, Pastoral, Choral), Violin Concerto, Fidelio, Missa solemnis, 16 string quartets

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Polonaise in A major, Op. 40 No. 1 ('Military')

Frédéric Chopin (1810–1849)

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🌹 Romantic

Key / Form

A major · Compound ternary ("Minuet and Trio") — ABA

Trio key

D major (subdominant)

Composed

1838; published in Chopin's lifetime

Nickname / Tempo

'Military'; Allegro con brio — fast and with brilliance

Title & Background

A Polonaise is a stately Polish processional dance in triple time; it often uses the characteristic rhythm ♩♪ ♩♩♩. Chopin wrote 16 Polonaises for piano solo and a Grand Polonaise for piano and orchestra
Composed in 1838 — the same year as the Op. 40 No. 2 in C minor
Nickname 'Military' was given by others, not Chopin himself; along with 'Heroic', these nicknames reflect the strong, patriotic character of Chopin's Polonaises
Strong and passionate works; Chopin was Polish-born and the Polonaise was seen to contain patriotic sentiment — he left Warsaw in 1830, shortly before the Polish uprising
Allegro con brio = fast and with spirit or brilliance; energico = energetic; riten[uto] = immediately slower

Structure

Section	Bars	Description
A — a	1–8	A major. Main theme with strong, proud, chordal character. Tonic pedal in bass. Diminished 7th chord (D♯-F♯-A-C) above tonic pedal at b.4. Bars 5–6 modulate to C♯ major (up a major 3rd). Bars 7–8 return to A major: V7–I cadence. Bars 1–8 repeated.
A — b	9–16	Begins in E major (dominant key), modulates via C♯ minor (b.11–12) to G♯ major. Bars 13–16 similar to b.9–12, beginning in G♯ major, modulating via E major (b.15–16) to A major.
A — a	17–24	Same as b.1–8, beginning and ending in A major. Bars 9–24 repeated.
B — c (Trio)	25–56	D major (subdominant). Sequences in b.29–30 and b.37–38 bring passing hints of B minor (b.29), F♯ minor (b.30), B♭ major (b.37) and C major (b.38), but D major prevails — V7–I cadence in b.39–40. Characteristic Polonaise rhythm frequently in LH. Bars 41–56: repeat of b.25–40 with added acciaccatura in b.41.
B — d	57–64	Mostly D major with chromaticism. Bass line often moves by semitones. Tonic note at top and bottom of repeated chords with various harmonisations. Ends on dominant chord in b.64, preceded by "French" augmented 6th chord (B♭-D-E-G♯) at end of b.63.
B — c	65–80	Same as b.25–40, beginning and ending in D major. Bars 57–80 repeated.
A — a	81–88	Main theme, same as b.1–8, A major, but not repeated.
A — b	89–96	Same as b.9–16, not repeated.
A — a	97–104	Same as b.1–8, not repeated. Final return of main theme in A major.

Signs and Terms

Allegro con brio — fast and with spirit or brilliance; energico — energetic
riten[uto] — hold back the speed (immediately slower); a triplet (♪♪♪) = three notes in time of two
A double sharp (𝄪) raises the pitch of a note by a whole tone; ⁀ = acciaccatura (crushed note); tr = trill

Romantic Characteristics

Strong, proud chordal texturesCharacteristic Polonaise rhythmNational dance style (Polonaise)Patriotic/heroic characterModulations by 3rds (A→C♯, b.5–6)Augmented 6th chord (Trio, b.63)Chromaticism (bass semitone movement)Compound ternary "form within a form"Widely contrasting moods (A vs Trio)Wide dynamic rangeDiminished 7th chordsRobust virtuosity

Key Facts — Chopin

Born near Warsaw 1810; prodigy — first public concert age 8, composition published age 15; studied with Zwyny (Bach/Classics) and Elsner (harmony/composition)
Left Warsaw 1830 (before Polish uprising); brief stay Vienna; settled Paris 1831
Paris 1830s: grew dissatisfied with virtuosity-for-show audiences; played in salons; gave private lessons; style became more intimate
Met George Sand 1836 (French novelist); lived together 1838–1847 including Majorca stay (worsened his health); died tuberculosis Paris 1849 aged 39
Composed at the piano; pieces conceived as improvisations; friend of Bellini whose flowing melodies he emulated; all compositions involve piano
Piano works: 3 sonatas, 4 ballades, 4 scherzos, 4 impromptus, 27 études, ~60 mazurkas, 21 nocturnes, 16 polonaises (incl. Op. 40 No. 1 'Military', Op. 40 No. 2, Op. 44 'Tragic', Op. 53 'Heroic'), 26 preludes, 19 waltzes, Barcarolle, Berceuse, Fantasy; 2 piano concertos
Catalogue: CT number (Chomiński/Turło); a Polonaise is a stately Polish processional dance in triple time — Chopin elevated the form from a salon piece to a patriotic, concert-level work

🎭

Scherzino, Op. 39 No. 11

Edward MacDowell (1860–1908)

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🌹 Romantic

Title

Scherzino = "little scherzo" — lively, playful, like a musical joke

Key / Form

B minor · Ternary (ABA) + Coda

Technical objective

Develop fluency in playing double notes (continuous semiquaver double 3rds)

Collection

12 Etüden Op. 39 — a set of character études

Structure

Section	Bars	Description
A (b.1–12)	1–12	B minor — key initially disguised. Opens with D major triads (III of B minor); listener may assume D major. Tonic triad of B minor heard b.3–4. B.5–8 similar but tonic replaced by dominant of E minor (b.7), then dominant 9th (B-D♯-F♯-A-C♮, b.8). E minor triad arrives b.9, becomes iv7 (E-G-B-D, b.10). Key of B minor clarified in b.11–13: ii°7–V–i cadential progression. f then diminishing to pp with tonic resolution. RH: continuous semiquaver double 3rds; LH: simple chordal accompaniment.
A (b.13–26)	13–26	Harmonically stable; softer; lower pitch. Melodic interest moves to LH (octave doubling). RH: ostinato alternating 6ths and 5ths, upper voice trills on tonic. Augmented 6th chord (G-B-D-E♯, b.15–16, 19–20) leads to dominant. Decrease in pitch, volume, texture, rhythmic activity culminates in brief silence.
B (Episode)	27–50	G major — "mediant modulation" (B minor → G major, keys a 3rd apart; B becomes mediant/3rd of G). Dolce character; tonic/dominant double pedal (b.27–32); harmony alternates tonic with added 6th (G-B-D+E) and dominant 7th. Melody in tenor register (LH); RH: double-note semiquavers (3rds, 4ths, 5ths) in quasi-ostinato. Hints of E minor (b.33–36) and B minor (b.37). Dominant 9th brings half-close and return to tonic. Episode theme restated (b.39–50): bars 43–45 harmonised in C major; diminished 7th harmony (A♯-C♯-E-G, b.46–48) intensifies tension. Climax (ff, b.49–50): dominant minor 9th of D major (A-C♯-E-G-B♭) leads back to opening chord.
A (return)	51–76	B minor, very similar to b.1–26. Chromatic neighbour notes (B♭ b.51, A♯ b.59) add slight variation, enhancing playful character.
Coda	77–83	B minor. Implied V–i (b.76–77). Tonic chord with added 6th (B-D-F♯+G) prolonged in b.77–80 using double-note semiquavers divided between hands. Chromatic neighbour notes in upper voice. Final two bars: tonic note lightly detached with octave doubling.

Signs and Terms

Allegro — fast and lively; ppp (pianississimo) — extremely soft; dolce — sweetly
la melodia poco marcato — mark (bring out) the melody a little; cresc[endo] ma legg[iero] — gradually louder, but lightly
Vivo — lively and spirited; leggieriss[imo] — very lightly

Romantic Characteristics

Sparkling virtuosity7th, 9th and added 6th chordsWide dynamic rangeDense textures / sustaining pedalMediant modulation (3rds: B minor → G major)Augmented 6th chordCapricious dynamic/register changesSimple ABA structureDescriptive/poetic character

Key Facts — MacDowell

Born New York 1860; studied piano/composition in France and Germany; teachers included Joachim Raff (director, Hoch Conservatory, Frankfurt)
1882: performed first piano concerto for Franz Liszt (age 21); received encouragement to pursue composing
Married 1884; continued in Germany teaching privately; moved to Boston 1888 — career as pianist, composer and teacher
1896–98: some works published under pseudonym "Edgar Thorn" (Op. 1–7)
1896: first professor of music at Columbia University; resigned abruptly 1904 after conflict with university officials
Final years: debilitating mental illness (possibly from traffic accident 1904, stress, or accidental bromide poisoning); died New York 1908 aged 47
Style sometimes compared to Liszt and Grieg; compositions often have descriptive/poetic titles even in sonatas and études
Piano works: 2 piano concertos, 4 sonatas (Tragica, Eroica, Norse, Keltic), 2 Modern suites, 12 Etüden Op. 39, 12 Virtuosen-Etüden Op. 46, Woodland Sketches, Sea Pieces, Fireside Tales, New England Idylls, Forgotten Fairy Tales Op. 4
Other works: symphonic poems (Hamlet and Ophelia, Lancelot and Elaine, Lamia), 2 orchestral suites, Romance (cello and orchestra), many songs

🐝

Drowsy Bees and Butterfly

Kerin Bailey (b. 1955)

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🎷 20th/21st Century — Latin/Jazz / Impressionistic

Key / Form

G major centre · Ternary — AABA (32-bar song) with 4-bar intro and outro

Style

Latin/jazz and vaguely Impressionistic

Level

Upper Intermediate / Early Advanced (approx. Grade 7–8)

Rhythm

Quavers even throughout — NOT swing

Structure

Section	Bars	Description
Intro	1–4	4-bar introduction establishing the mood and key centre (G major)
A1	5–12	Main theme. b.5–6: ii–V–i in A minor; b.7–8: ii–V–I in C major; b.9–10: ii–V–I in E♭ major; b.11–12: ii (min7♭5)–V–I cadence in G major
A2	13–20	Repeat of A1 with variations
B (Bridge)	21–29	b.21–24: F major — ii V \| I #dim \| ii V (alt) \| Idim I; b.25–26: ii–V–I–IV in B major; b.27: A major #11; b.28–29: ii–V (alt) in G. Alt = altered dominant 7th (with b9, #9, #11 etc.)
A3	30–37	Repeat of A1
Second pass	38–78	Repeat of entire AABA form plus B section with variation — "like an improvisation"
A final	79–88	Re-statement of main theme
Outro	89+	Finishes on G 6/9 (#11) chord

Performance Notes

Tempo and beat can be flexible throughout — poco rubato — metronome marking is a suggestion; better to err on the leisurely side
b.54 is marked poco meno mosso — a little slower and more freely at the performer's discretion; this can extend to b.74 — Tempo 1
Despite the rubato, the feel is still Latin — keep the syncopation in context
Quavers even throughout — not swing; pedal markings on p.2 may be used as a guide for the remainder
Arpeggio figures in b.29 and b.87–88 may be played L/R as suggested or R only

Harmonic Features

ii–V–I progressions (jazz standard)Passing through multiple key centresAltered dominant chords (b9, #9, #11)Diminished chords (#dim)Added 6th chordsG 6/9 (#11) final chordSyncopation (Latin feel)32-bar song formRubatoVaguely Impressionistic colouring

Key Facts — Kerin Bailey

Classically trained pianist — B.Mus(Hons) in performance from Elder Conservatorium (Adelaide)
Extensive experience playing, teaching and composing in jazz and popular music styles
Has worked with Judith Durham, James Morrison and Kate Ceberano; also comedy/entertainment industry
Known for crossover educational and leisure music — melodic and accessible from easy to upper intermediate/advanced
Major series: Jazzin' Around (piano and strings), Jazz Incorporated (winds/brass); individual works: Six Sketches, Triplet Falls, Five Dances for Flute and Piano — popular on examination and school syllabi
ii–V–I is the most important harmonic progression in jazz: ii prepares the dominant; dominant (V) resolves to the tonic (I); drives jazz harmony forward
A 32-bar song form (AABA) is the standard jazz/popular song structure; each section = 8 bars. Used in thousands of jazz standards

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🏛 Classical c.1750–c.1810

Classical Period — Beethoven's Rondo Op. 51 No. 2

Instruments: Fortepiano · Forms: Sonata, Rondo, Minuet & Trio, Theme & Variations

Light, elegant, restrained; homophonic texture — one clear melody with subordinate accompaniment

Short, balanced phrases; motives can be developed; Alberti bass common; ornamentation at cadences (trills, turns)

Steady pulse; discreet rubato; moderate dynamics; mostly diatonic harmonies; modulations to related keys

Highly organised formal structure; sonata-rondo form demonstrates Classical craftsmanship

Your piece: Beethoven Op. 51 No. 2 — songlike main theme (cantabile e grazioso); sonata-rondo form (ABACABA); balanced 4-bar phrases; circle of 5ths progressions; ornaments (trills, turns); modulations to D major (dominant), E minor (relative minor), E major (mediant — slightly Romantic).

Composers: Haydn, Mozart, Clementi, Beethoven, Hummel, Schubert

🌹 Romantic c.1810–c.1900

Romantic Period — Chopin & MacDowell

Instruments: Pianoforte (still developing) · Forms: Character pieces, études, impromptus, ternary

Passionate and expressive; sense of spontaneity; rubato; wide dynamic range; detailed expressive instructions

Rich chromatic harmonies; 7th and 9th chords; modulations by 3rds and to distant keys (mediant modulations)

Long lyrical phrases; warm cantabile tone; sustaining pedal essential; widely-spaced textures

Virtuosity important; quest for transcendent technique; rhythmic independence of melody and accompaniment

Chopin Op. 40 No. 1: Strong, proud chordal textures; characteristic Polonaise rhythm; compound ternary form (ABA, each with internal subdivisions); modulation by major 3rd (A→C♯); Trio in subdominant (D major); augmented 6th chord (b.63); chromaticism (semitone bass movement in d section); diminished 7th chords; patriotic/heroic character; robust virtuosity.

MacDowell Scherzino: Sparkling virtuosity; double-note semiquavers; mediant modulation (B minor→G major); 7th/9th/added 6th chords; augmented 6th; wide dynamic range; capricious character.

🎨 Impressionist c.1890–c.1918

Impressionist Period — Debussy's La plus que lente

Instruments: Pianoforte · Forms: Through-composed, rondo, ternary

Delicate and misty; supple rhythms avoiding strong regular accent; no dominant-tonic cadences

Light, ethereal texture; generally soft dynamics; tone of "a piano without hammers"

Modal, whole-tone and pentatonic scales; chords used for sonority; parallel chords; 7th and 9th chords

Pedal points and ostinati common; sustaining pedal essential; una corda sometimes needed

Your piece: La plus que lente — waltz style; G♭ major rondo; modal harmonies (A♭ dorian); 7th/9th chords; pedal points; parallel triads; hemiola rhythm (waltz feature); dominant 9th ostinato; molto rubato throughout; impressionistic colouring throughout.

Composers: Debussy, Ravel, Delius, Scott (Cyril)

🎷 20th/21st Century — Kerin Bailey

Contemporary/Cross-genre Style — Drowsy Bees and Butterfly

Composed in the 20th/21st century; blends Classical training with jazz and Latin idioms

20th/21st century: great diversity of styles; common-practice harmony retained in jazz context (ii–V–I progressions)

32-bar AABA song form — the standard framework for jazz standards since the 1930s (e.g. rhythm changes, many Gershwin/Cole Porter songs)

Latin feel: even quavers (not swing); syncopation within a relaxed rhythmic framework; poco rubato

Jazz harmony: ii–V–I progressions, altered dominants (b9, #9, #11), added 6ths, 6/9 chords, diminished chord passing tones

Impressionistic colouring: vague harmonic direction at times; passing through multiple key centres; G 6/9(#11) final chord — ambiguous, colouristic

Your piece: Passes through G major, A minor, C major, E♭ major, F major, B major — harmonic variety within a coherent jazz-Latin framework; multiple repetitions of AABA form with variation "like improvisation."