Debussy

Debussy’s Prelude No. 4

The establishment of music is associated with the historical background of those with both cultural and passionate icons in music industry. Of course, music is one of the industries that require commitments coupled with high levels of innovation (Gomes, Vanderlei, Garner, de Marco, & Valenti, 2018). Such requirements can be viewed in terms of the historical background of music and the manner in which the music has evolved to the world of today. In this case, the main concern is achieved from the historical background in relation to the Debussy’s compositional traits and philosophy, as far as his commitment in composing the Prelude No. 4 is concerned. In this essence, the main concern is to achieve concrete acknowledgment of both the nature of music composition and the relevant scene that inspired the establishment of Prelude No. 4.

Here, the characteristic levels of the music are established with regard to the Prelude No. 4, in which, a proper exploration of the actual work of Debussy, that is, Prelude No. 4, is factored to understand the historical assumptions that promote the existence of the Prelude No. 4. For that matter, the essay explores the Prelude No. 4 and the relationship that it shares with the Debussy’s philosophical and innovative traits in composing music. Therefore, the essay first focus is the exploration of the Prelude No. 4 and its usability in handling the social aspect of human beings. The second aspect of the essay establishes its concern on the historical background of Debussy and his contribution to Music. The third concern is motivated with regard to the specialized work of Debussy, Prelude No. 4. Finally, the essay maintains a proper analysis and recommendation in the work of Debussy as far as the Prelude No. 4 notch is concerned.   

Prelude No. 4

            The Prelude No. 4 is one of the key pieces within the Piano that is characterized with negative emotional effects (Catherine, 2009). Preludes are the shortest pieces within a piano. In this essence, the existence of the Prelude No. 4 with the negative emotional effect can be achieved based on the short trait in its composition. The Prelude No. 4 was first played in a funeral service. Its influence in motivating or harmonizing a funeral scene made it perfect to be played in an environment with a sad scene, perhaps a place of death and grief. In fact, the existence of the Prelude No. 4 is based on the creative work of George Sand who perfectly incorporated his ideological perceptions in the establishment of the Prelude No. 4 through writing. It is acknowledged that the commitment of the creative and innovative writer was for the purpose of promoting his love life. In this essence, the ironical segment of the Prelude No. 4 is achieved from its formation. The question that would arrive revolves around how the prelude piece that symbolizes sadness would be used in an environment of love. Perhaps George was in his lowest love mood while composing the piece. Meaning, however much the mode of the Prelude No. 4 formation depict love might meaning an environment characterized with loss of loved one.

Structural Formation of Prelude No. 4

            The identification and the character of the Prelude No. 4 is established based on its structural formation. As already mention, all the prelude pieces are short in nature. For that matter, the Prelude No. 4 being one of the preludes, is characterized by disconcerting brevity. Being a short chord, the Prelude No. 4 is achieved, to begin with, a striking melody with a gloomy but descending chord that promotes a long-breathed, and obsessive trait. Other than just weeping, the music produced by the Prelude No. 4 normally appear to be glowing with a listless tendency as it descends to the end (Brenda, 2018). The ignited gloomy and harmonized chord as achieved by the left hand within a piano keyboard is characterized by a repetitive funereal gait that influences doom sense with a fateful tolling bell expression. Funnily enough, such a sorrowful piece cannot last more than two minutes, making it one of the most yarning and somberly piece to be played in funerals and another environment with discouraging scenes. For that matter, given its sorrowful tune, and the encouraged popularity in engaging the mourners, the Prelude No. 4 is normally characterized with a sad and sorrowful message.  In fact, the Prelude No. 4 is the most popular products among the piano sets.

Debussy’s Compositional Traits and Philosophy

            The compositional traits and philosophical contribution of Debussy are achieved based on his commitment in the composition of many musical chords used in piano today. Of course, such contributions are a result of the concrete philosophical influence that was put into practice through the composition initiative. In this essence, the establishment of the character trait of Debussy and his philosophical contribution in music is achieved through a concrete focus on his historical background and the manner in which his philosophical contribution in music was facilitated (Canadas-Quesada, Vera-Candeas, Martinez-Munoz, Ruiz-Reyes, & Cabanas-Molero, 2016). Therefore, this section would focus on the historical background of Debussy, the manner in which Debussy contributed to the composition of the musical chords within the piano, and Debussy’s contribution to the existence of the Prelude No. 4.

Debussy’s Historical Background

            Debussy was one of the greatest composers of most tunes played in Pianos. Historically, Debussy’s music potentiality was a reflection of his interest and an overwhelming creativity in promoting his capability to compose music. Despite being inspired by the environment in which he hailed, the music hero also played a major role in inspiring individuals who performed incredibly within the music industry. In fact, His role in Music began as early as when he was seven years old. Ideologically, those who engaged their effort in motivating Debussy’s talent were the ultimate people behind his incredible contribution to the music industry (María, Miguel, Miguel, Waldo, & Amparo, 2016). His full commitment to proving his talent in music was promoted when he was ten years old. It is here that he promoted a complete concern in establishing a promising innovation in the music industry. Other than showing a potential contribution in the structure of the current piano, his experience would be used in facilitating the real definition of musical composition. Therefore, as far as the chosen Prelude No. 4 is concerned, it is important to explore the actual contributions made by Debussy in ensuring the existence and improvisation of the musical piece within the piano from a single piece to the one under focus.

Debussy’s Contribution in Music Composition

            The Debussy’s contribution to the existence of the various sound pitches found within the Piano is achieved from the character traits of the individual, the environment in which the individual hailed, and the availability of great opportunities to explore much about music.  Debussy is in a person who showed a complete commitment to learning and composition of music (María, Miguel, Miguel, Waldo, & Amparo, 2016). At his sevens, he was already studying in a music school. In this essence, he manages to communicate to people that indeed the music is something that must be promoted into several categories. In his own philosophical approach, it was practically achieved that understanding music needs a proper learning. The fact that he would attend a music training center is a philosophical perception that would be positively influenced by the current population.

Relevantly, given his brave commitment to attend school at his younger age is a positive approach indicated that understanding music is a mentoring approach that begins at a younger age. In fact, it is evident from the historical background of Debussy that he realized his talent in composing music when he was ten years old. Meaning, he only realized his talent after showing interest in the music. For that matter, it is a great lesson that people must motivate their music interests by first, engaging their interest in the music. Therefore, given the achieved process that Debussy used in promoting his musical talents, the current societies have committed their involvement in the composition of music using the achieved process that was followed by Debussy (Brenda, 2018). Many people now begin their interest in music at their childhood ages. Relevantly, most people have thus, found a need to learn music as the ultimate basis of encouraging professional basis of promoting their musical talents.

Debussy perfectly worked in ensuring most of the chords that we use in the piano today. In portraying his ideological perceptions by enhancing his creativity in composing music, the innovative man encouraged his attempts in a consequential manner to promote the musical chords that make up the existence of the piano. Of course, his compositions were marked by events. Other than traveling from one point to another, the engagement of educational attempts promoted by the existence of scholarship perfectly motivated his musical understanding. Asa result, the nature of his creativity increased vehemently. Such motivated attempts promptly encouraged the engagement of such preludes as the Prelude No. 4. Moreover, he encouraged collaborative performance as the ultimate way of achieving encouraging experience in his music career. Therefore, it is encouraging to understand the Debussy motivated musical inspiration by engaging all the requirements that ensured the existence of the preludes chords of the piano pieces we saw and use today in composing and creating music (Canadas-Quesada, Vera-Candeas, Martinez-Munoz, Ruiz-Reyes, & Cabanas-Molero, 2016).

Analysis of Debussy’s Contribution to the Prelude No. 4

            The achieved commitment by Debussy in handling music needs has promoted a positive influence in the composition of the chords used in the day’s music industry. Debussy is acknowledged to be one of the greatest contributors to the existence of some of the piano chords used today. Particularly, it is evident that the philosopher portrayed a positive influence to the existence of the Prelude No. 4 chord that is highly regarded to be potentially used in a specified occasion characterized with the sad moment (Catherine, 2009). Reason being, George the chord writer promoted the tune that existed over the shortest period, approximately two minutes long. However, its establishment is met with a combination of antagonist and ironical reactions. In that, even though the writer intended to motivate the chord to be used in love scenes, the chord has been largely used in handling sorrowful moments. Its play and the mode at which it tunes positively influences or indicates a sorrowful environment or moment. Of course, Debussy was a talented composer of music. His contribution to the existence of the Prelude No. 4 is achieved with high levels of creativity.

Being one of the prominent composers, he ensured that the chord that was meant to be played in love areas made it perfect in sorrow movements. Indeed, the Prelude No. 4 soothes, and it perfectly worked in providing a gloomy tone that would otherwise be utilized in such lovely occasions. For that matter, using the high level of creativity and innovative attempts, the engagement of philosophical assumptions ensured that the chord concretely adhered to that manner in which its tune appeared. In that essence, the committed effort by Debussy ensured that the Prelude No. 4 achieves the dignity it deserved. He made sure that the nature of the chord accords the best environment in which it would be played. Therefore, he encouraged the manner in which it would be played within the piano (Gomes, Vanderlei, Garner, de Marco, & Valenti, 2018). He ensured that the chord is played using the left has and descends as it finishes within the piano. With this, Debussy truly believed that the chord would positively influence its mandate according to what perfectly abide its composition and the achieved structural component of the pitch that it produces.

Technical issues Raised in Prelude No. 4

The raised technical issues are achieved in two categories. However, the achieved categories tend to be directly related with one another. For that matter, discussing the technical issues would need a broad exploration of the Prelude No. 4 in relation to Debussy’s commitment in its composition (María, Miguel, Miguel, Waldo, & Amparo, 2016). The establishment of the Prelude No. 4 was achieved in constructing environment. The writer of the chord intended to promote such creative work in motivating a loving environment. Ironically, the chord found itself to be played within a sorrowful scene. How would such an ironical situation occur that much? Perhaps the writer intended to bring the gloomy and emotional tone during s sorrowful love moments. Of course, that is just a guess. Then, what was the real intention of coming up with the chord? I wish he was available then I would seek an answer from George the songwriter. However, given the complication of the question, I would assume that the latest assumption that could be drawn from the achieved Prelude No. 4 chord.  Therefore, the technicality of the Prelude No. 4 north is achieved from its contradictory structure in terms of the real meaning of its written structure and the opposite within its composition in the piano.

Another technical issue associated with the Prelude No. 4 is achieved from its structural formation. The Prelude No. 4 is regarded to be shortest and last for two minutes with a deteriorating pitch down the larder. However, being that sorrowful movements are extensive and need a prolonged commitment in playing soothing and sorrowful tunes, it is discouraging that the establishment of the chord would not positively influence its structured mandate within such sorrowful scenes or environments. Relevantly, the fact that it appears to be descending as it ends portrays a negative influence in encouraging the condition exhibited by the individual affected by the sorrowful moments (Brenda, 2018). A sorrowful song should always encourage a positive environment or condition to the affected individuals. In that, the pitch should always be in a position of encouraging the grieved individuals to be motivated regardless of the influence promoted to them by the experienced bad and sorrowful occurrence. Therefore, such structural issues would act as potential technicalities associated with the Prelude No. 4

Conclusion and Recommendation

            The establishment of the Prelude No. 4 by Debussy as far as its composition is concerned is one of the best compositions approached that can be achieved in different categories. In that, its establishment and existence are associated with ironical phenomena that concretely promote several questions that would remain unanswered, and must be given positive solutions. Meaning, even though its composition was factored with a positive motive, much must be done to promote a complete commitment of the Prelude No. 4 in ensuring a positive output. Of course, being a two-party commitment, the existence of the Prelude No. 4 is facilitated and characterized with a doubled ideological assumption. In that, the writer had a different assumption as compared to Prelude No. 4. It is evidenced in the established research that the writer intended to engage the play of the tune in a love-based environment (Brenda, 2018). Contrarily, its composition and incorporated within a piano is met with a different viewpoint. The writer intended that it would encourage a loving moment while the composer linked it with a sorrowful environment. For that matter, the achieved understanding clearly indicate or achieve music as an innovative career. It requires not just a single commitment. Therefore, the current musical composers must promote uniqueness coupled with a proper scrutiny of the achieved assumption within the established music tune.