Year of Wonder – June

Since January I have been posting a Spotify playlist each month for Clemency Burton-Hill’s Year of Wonder. Burton-Hill's book has been great fun for me, and I look forward each day to reading about a piece of music and finding a variety of recordings for that piece on Spotify.

I have embedded the playlist for June below, as well as videos of a few of my favorites from Burton-Hill's recommendations from May.


Spotify Playlist for JUNE of the Year of Wonder

Debussy, Children’s Corner, “Doctor Gradus ad Parnassum”
Performed by Stephen Malinowski with the Music Animation Machine

Mother of God, “Here I Stand”
Recorded at Kulturtemplet, Göteborg, Sweden

Peter Maxwell,
The Yellow Cake Review, “Farewell to Stromness”
Performed by the Los Angeles Guitar Quartet

Overture to Candide
Performed by Leonard Bernstein conducting the London Symphony Orchestra

Debussy, Préludes (1910, 1913)

"Music is the silence between the notes." – Claude Debussy

Claude Debussy, a French composer known for his unconventional use of melody, harmony, and timbre wanted a piano to sound as if it were "floating" and had no hammers. In his
Préludes for solo piano, published as two books in 1910 and 1913, he composed twenty-four pieces that each create a different mood and sound quasi-improvised. I have embedded a recording of the Préludes performed by the pianist Krystian Zimerman, a recording that, for me, perfectly captures the impressionistic spirit of Debussy. (You may need the Spotify web player or app to listen to the Préludes from the embedded playlist.)

As a bonus, I have also embedded an arrangement for five cellos of "The Girl with the Flaxen Hair," the eighth prelude of the first book, and an orchestral version of "Fireworks", the twelfth prelude of the second book.

"The Girl with the Flaxen Hair," SAKURA cello quintet

"Fireworks," Sir Simon Rattle conducting the Berlin Phlharmoniker
Animation by Victor Craven

Claude Debussy: The Tranquil Revolutionary

"I am more and more convinced that music, by its very nature, is something that cannot be cast into a traditional and fixed form. It is made up of colors and rhythms. The rest is a lot of humbug invented by frigid imbeciles riding on the backs of the Masters—who, for the most part, wrote almost nothing but period music. Bach alone had an idea of the truth."

– Claude Debussy

Claude Debussy (1862-1918) was one of the most accessible composers in music history, and if you don’t enjoy listening to his music, you may never enjoy anything from the classical repertoire.

I've often told students that a great piece of music must be heard several times before it can be fully understood or appreciated. With Debussy that is generally not the case. His compositions can make a lasting impression with a single hearing, and I don't use the word "impression" lightly.

Early in Debussy’s career his music was labeled “impressionist," a term that had previously been applied to a style of painting associated with artists such as Claude Monet and Pierre-Auguste Renoir. The term came from the title of Monet’s painting
Impression: Sunrise (shown below) and refers to paintings that use light and color to create a soft-focus image of a scene rather than a detailed representation. By that definition, it's easy to see why some people used the term to describe Debussy's music.

Monet, Impression: Sunrise

Although Debussy disliked the comparisons of his compositions to Impressionism, the adjectives used to describe Monet’s style of painting can also be used to described Debussy’s music. Like Monet's paintings, Debussy's music is often static and seemingly unconcerned with the need to move forward. Debussy's music might also be described as “blurred,” using harmony and timbre to create musical impressions. Like Monet's paintings, the mood of Debussy's music is more important than the image or story.

Debussy disliked the music of most other composers and criticized the work of Brahms, Wagner, Tchaikovsky, and Beethoven. (He did, however, seem to like Bach.) This disdain for the music of others can be heard in the way Debussy rejected the musical traditions of past masters and created a whole new musical language. During the late 1800s and early 1900s, he provided listeners with music unlike anything ever heard before. He was an artistic revolutionary and, for that reason alone, ranks as one of the most significant composers of the last century.

The best way to describe Debussy’s music is to take the following ingredients and mix them together. When finished you will have what amounted to a new type of music for the twentieth century.

  • He was unconcerned with the expectations of his audience, and created a musical language that divorced itself from the long-standing European traditions. He famously wrote: “I want my music to be as relevant to the twentieth century as the airplane.”
  • His music was largely programmatic, although he did not try to paint a picture or tell a story with his music as much as he tried to evoke a mood.
  • The sounds of his native language can be heard in his compositions. Debussy was French, and — like the language he spoke — his music was generally free of sharp accents and harsh consonants.
  • His music emphasized “color” through his creative use of musical timbre. He used instruments either by themselves or in unusual groupings to create sounds that had never been heard in an orchestra.
  • His music provided unorthodox harmonies and melodic lines. Generally unconcerned with whether his themes were set in a major or minor key, Debussy employed harmonies designed to evoke a certain mood, using whole tone scales (play C – D – E – F# – G# – A# – C on a piano), pentatonic scales (play the black keys on a piano), and chromatic scales (listen to the flute at the beginning of The Afternoon of a Faun on the video embedded below).
Although Debussy’s music was shockingly original when it was first composed, it did not cause the same social earthquake as other modernist music of the early twentieth century. Debussy was as much a revolutionary as composers like Stravinsky and Schoenberg, but the benevolent sound he created did not give people a sense that he had turned the musical world upside down — even though he had.

As for my statement above that unlike many other composers Debussy's music can make a lasting impression with a single hearing, let me finish by quoting Debussy on that very subject:

"Love of art does not depend on explanations, or on experience as in the case of those who say, ‘I need to hear that several times.’ Utter rubbish! When we really listen to music, we hear immediately what we need to hear."

Debussy, “Claire de lunefrom Suite bergamasque (1905)
graphic score by Music Animation Machine

Debussy, Prelude to the Afternoon of a Faun (1894)
Leonard Bernstein conducting the Boston Symphony Orchestra

Debussy, Syrinx (1913)

When Claude Debussy composed Syrinx in 1913 it was the first significant work for solo flute composed since C.P.E Bach’s Sonata in A Minor in 1763. The technical improvements added to the flute by Theobald Boehm in the mid-1800s made the piece possible, allowing Debussy to showcase what could be done with the new and improved flute. As a flute player myself, I have played the piece often and enjoyed the flexibility in how it can be interpreted.

Emmanuel Pahud, flute

A Beginner's Guide to Pentatonic Scales

Pentatonic (five-note) scales are ubiquitous in music. They have been heard since ancient times and form the basis of traditional Japanese, Chinese, and Celtic music. They are heard in blues and rock guitar solos for decades, and if you have heard “Amazing Grace,” written by John Newton in the eighteenth century, or “I Got Rhythm” and “Summertime,” written by George Gershwin in the twentieth century, you have heard music based on pentatonic scales.

To create a pentatonic scale, take the seven notes of a major scale (C – D – E – F – G – A – B) and remove the fourth and seventh notes (F and B). What’s left is a pentatonic scale (C – D – E – G – A).

Look closely at those five notes and notice how there are no half steps. This means you are less likely to hear discordant sounds in pentatonic melodies and harmonies. You are also less likely to hear a strong sense of the tonic, causing the music to have fewer, if any, tonal “punctuation” marks. If the timbre is not too harsh, pentatonic scales will provide you with benevolent melodies and pleasant harmonies.

As a guide to identifying the pentatonic sound in classical music I have embedded a video in which Bobby McFerrin demonstrates the “naturalness,” as well as the predictability, of the pentatonic scale.

After watching the video, listen to
The Girl with the Flaxen Hair and Arabesque #1 by Claude Debussy. Notice the use of the black keys on The Girl with the Flaxen Hair. If you play only the black keys on a piano, you are playing a pentatonic scale. Notice in both pieces how a pentatonic scale creates music that “flows,” music that has few moments of tonic rest and almost no discordant harmonies.

Enjoy, and don’t overlook the postscript after the

Bobby McFerrin at the 2009 World Science Festival

Debussy, The Girl with the Flaxen Hair (via

Debussy, Arabesque #1 (1888) (performed by Stephen Malinowski)

Postscript: Bobby McFerrin’s demonstration of a pentatonic scale was part of a discussion at the 2009 World Science Festival titled “Notes and Neurons: In Search of the Common Chorus.” The discussion centered around the brain’s interaction with music, and focused on answering the following questions:
  • Is our response to music hard-wired or culturally determined?
  • Is the reaction to rhythm and melody universal or influenced by environment?
I have embedded the entire discussion below. It might be long, but it’s also enlightening and well worth the time.

"Notes and Neurons: In Search of the Common Chorus," 2009 World Science Festival