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Rhythm = orange
Forces = red
Tonality = pink
Texture = purple
Structure = dark blue
Melody = light blue
Harmony = green

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Melody -
Theme 4:
- in major mode, descending e.g. bar 41

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Melody -
Theme 3:
- use of whole tone elements e.g. bar 23
- extension of theme 2 bars 33 - 36 (descending sequence built on 3rds)

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Melody -
Theme 2:
- extended bar 17 (use of balanced two bar phrases and repeated notes)

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Melody -
Features of:
- acciaccaturas e.g. bar 15
- limited range (8ve)
- avoidance of balanced phrases

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Melody -
'La Soiree' built on a limited number of melodic motifs:
e.g. the orientalist 'Andalusian' - Arabic melody bar 7 (use of semitones and aug 2nd)

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Texture - mostly melody and accompaniment/Mel Dom Hom (from bar 3 onward)
- Polyphony used bar 11
- Imitation at half a bar's distance bar 23 from R.H to in L.H
- Rapid R.H Ornamentation toward the end bar 80
- Melody and Accompaniment bar 80, R.H playing complex ornamentation and L.H plays Theme 1, then version of Theme 2 bar 88 underneath R.H

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Dynamics - generally stays p/mp at beginning.
Occasional little cresc, but mostly soft
Dramatically changes first at bar 41, very big cresc (lasting to bar 45)
Cresc happens again at bar 72 to 73 with exact same material as 41, fortissimo section
Ends pp

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Melody -
Articulation, staccato and Legato both as contrasts.
- Staccato e.g. bar 33 in L.H in pedal and bar 61
- Legato mostly
- Accents e.g. bar 39 in L.H

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Theme 2 -
First played bar 11 in the L.H (countermelody)
Adapted and used but played again in R.H bar 19
Hinted at bar 27 and 37, not exactly the same at 37, but similar, quavers used same as in Theme 1.

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Theme 1 -
Beginning similar, consistent, rising 4ths in bar 4 followed by major 2nd (also in bar 23 and 35)
Bars 3 and 23, clear link between two types of material, bar 23 just augmented rhythm.
Diminished in bar 37, (same theme as bar 3)

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Melody
- 2 bar phrases e.g. from bars 23 to 26 in R.H
- Ornamentation - trills at bar 50 in L.H
- Whole Tones e.g. bar 33 to 36
- Shape simple, conjunct, few leaps in 2nd phrase (bar 33)

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Pentatonic - 5 note scale, based on one starting on C#, links to Gamalan music

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'Changing Background' - happens e.g. bar 69 - 72, material based around G# and C, same melodic material but the bass note changes the harmony.

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Harmony -
Harmonic Rhythm = the rate at which chords change.
If the chord progression is static then there is a pedal note,
- e.g. bar 1 in the L.H (B and F#)
- e.g. bar 33 in the L.H (F# and G#). But different to before, not just being held, also major 2nd, use of the dominant and submediant, vague tonal center (deliberate).

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Tonality - Because of its pentatonic content, the tonal scheme rarely departs from the region of B major, though there is some ambiguity.

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Structure - 'Pagodes' is in ternary form with a coda.

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Background point - 'Changing Background' refers to the accompanying of similar or the same melodic material with different harmonies (e.g. contrasting keys) and textures. Associated with Russian Composers of the 19th Century, for example 'Mercury' from The Planets by Holst.

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Harmony - The harmonic rhythm is slow, often with only slight changes as part of the 'Changing Background' approach

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Harmony - The harmony in this piece is non-functional and draws heavily, but not exclusively, on pentatonic material. As a consequence it has a largely static quality.

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Melody - Built on two-bar phrases drawing on pentatonic structures.

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Texture - Varies considerably in type and density, with changes in sound quality enhanced by exploitation of the piano's full dynamic range from delicately to full FF.

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Backround point - most of the performance directions are in French. Was considered to be his first impressionist piece.

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Rhythm - bar 31 - 37, syncopation in the left hand.

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3. Rhythm - the rythms in this piece are hugely diverse with many technical features associated with his impressionist approach.

Syncopation e.g. bar 1.

Tied notes carried over bar lines e.g. bars 3 to 4.

Steady quaver in motif at bar 7.

Triplets e.g. bar 11.

Quintuplets (from bar 80).

Heterorhythms / Cross-rhythms e.g. twos against threes (bar 23).

Shorter note lengths.

Long Gong like sounds in bass.

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Metre - bar 78, semi demi quavers set against quaver triplets, cross rhythms.

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2. Tempo - Debussy directed this piece to be performed moderement anime (moderately quickly), with the pulse clearly subject to rubato as seen from the numerous ritenutos.

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Sonority - uses very nearly full range of the piano

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1. Metre - time signature is simple quadruple time 4/4, the only departures occurring at bars 92 and 94, where bars of 2/4 are inserted to underline the temporary six-beat structures at this point.