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Phrase 1 bar 1
This first appearance of the principal motif is mainly unaccompanied.
It can be thought of as an Eb-7 chord. I prefer to think of it as the notes of a Gb 6 triad especially as
there is a plagal IV to I cadence at the end of the phrase in Gb major.
The 6th of Gb (Eb) is such a restful, soulful tension- imbuing the piece from the beginning with serenity.
Phrase 2 bar 8
These first diatonic chords are all diatonic to Gb major - the triads give a hymn like
flavour. The Bb major chord is surprising to the ear, but perhaps not so strident as perhaps
the ear understands this Chord as being the dominant V chord of E flat minor, the relative minor to Gb
major.
however the next chord Eb major really impacts.
The end of this phrase can be analysed in the following ways:
a) Tierce de Picardie- the piece being in Eb minor and ending in Eb major
b) a Modulation to Eb major
c) Modal Interchange from Eb natural minor to Eb major -this explains both the Bb and the Eb major
chords.
As always, the sound emotion is what is important. The analysis does NOT make the sound. It is just a way
for us to try to describe and understand what happened- later!
At bar 18 there is another Db sus chord that moves down again to the Gb tonic making the chord a V7
sus.
However this chord is played over a Gb in the bass that makes the sound slightly more ambiguous and
impressionistic.
The sus 4th of the Db chord (Gb) is heard in the melody this time.
The Cb ( 4th degree of Gb major) is quite pungent here.
The melody at bar 18 over this Db sus traces exactly the notes of the Ab minor pentatonic scale.
Debussy is showing us here, a great diatonic chord scale to use over a Suspended chord .
©DogsDinnerMusic 2018
Bar 22 .
Here a fresh interesting sound is heard . This phrase contains 2 a polyrhythm, with 2 juxtaposed rhythms,
the top one in 3/4 time and the lower chordal one in 2/4. this produces a depth and rhythmic ambigui-
ty.
Bar 25 -The C#-7_F# (another sus chord) can be thought of as the V7 of B major.
The notes of the chord C#-7 come from the melody here!
So far in the piece we have heard the keys of Gb major Eb major and now B major.
The descending phrase that starts in bar 26, is repeated at bar 29 an octave lower, but this time
the phrase ends on a unexpected Bb7sus chord that stirs the emotions.
©DogsDinnerMusic 2018
Bar 37 the following Ab chord is a brighter sound- chord IV in the Eb natural minor scale
containing C natural, the natural 6th of that scale.
As well, bar 36 can could be thought of as a modulation to Gb major- chords:
IV V IV-
This uplifting motif is echoed again at bar 38, with a faster harmonic rhythm.
and octave lower.
The 4th of the Db sus chord resolves to the 3rd F natural on beat 2 of bar 40.
This Eb- pentatonic scale does not contain the striking 4th or 7th (of its relative major Gb major)
so redolent of classical harmony.
So the sound here is again ambiguous and impressionistic.
This phrases comes to rest on Cb (B) major 7 chord which is quite different and pretty.
At bar 44 we hear a higher repetition of this previous phrase again with pentatonic harmony.
After this chord has been sounded the initial motif is played- for the 3rd time
this time an octave higher than before.
As it is heard over this B chord the melody notes feel different this time-
©DogsDinnerMusic 2018
Afterwords/thoughts
DYNAMICS.
I think it would be amiss not to mention the stunning way Debussy used dynamics.
The loudest dynamic is mf in the original score.
The lower numbered harmonics (from the harmonic series/also known as overtones)
produced at these lower levels are quite different from the brighter higher ones produced by louder
notes.
It is very interesting to observe the 3 different ways Debussy treated the main theme
The first time just a solo melody at bar 1
The second,(bar 12) the melody over 2 parallel moving chords Gb7 Ab7
and the third and final time at bar 48 played over over B major colouring the notes in a new way.
THE NUMBER 3
There are many musical events linked to the number in the piece
DIFFICULTY
I have heard that Charlie Parker deliberately played fast and complex tunes in the cutting
jam sessions so as to filter out musicians of lesser technical aptitude.
(check out Koko, Anthropology)
I have also heard expressed the idea that Chopin used key signatures with more sharps and flats
so only more experienced musicians could play his music.
It occurs to me that this Debussy prelude, ‘La fille aux cheveux de lin’
could have been written in a simpler way to understand and therefore play.
The 16th note melody notes could have been expressed as 8ths.
The Different tonalities could have been written with new key signatures to facilitate
reading and some of the bar lines could have been placed in places easier to understand.
These are just my own personal thoughts.
©DogsDinnerMusic 2018