QUARTETTO

TECNICHE E METODI DELL'IMPRESSIONISMO

La base di pertinenza su cui si innesta l'esperienza compositiva di Debussy è naturalmente quella

offerta dalle opere dei musicisti francesi della generazione precedente e, più ampiamente, dalla

tradizione musicale europea della seconda metà del XIX secolo, da Wagner in primo luogo.

Tuttavia quest'ultimo non agisce tanto come modello specifico quanto come stimolo alla libertà,

come strumento di disinibizione nei confronti della tradizione.

Nel caso di Debussy la libertà dai veicoli del sistema tonale e dai modelli teorici di scala (maggiore

e minore) su cui esso si basava, passa non solo attraverso l'uso della scala cromatica a dodici suoni e

il cromatisco wagneriano, ma impiega anche scale arcaiche (modali) di tradizione medievale, scale

difettive (a cinque o sei suoni) ispirate alla tradizione orientale, o anche moduli melodici non

formalizzati in sistemi di scale storicamente codificati.

Della musica dell'Estremo Oriente gli impressionisti adottano i due sistemi musicali generati da due

diverse divisioni dell'ottava: il Pelog e lo Slendro.

Il Pelog non è altro che una scala diatonica di sette suoni, due dei quali però non vengono quasi mai

adoperati. I pezzi intonati nel sistema pelog rimandano in qualche modo al nostro modo frigio (mi,

fa, sol, la, si, do, re, mi).

Lo Slendro è invece la divisione dell'ottava in cinque parti quasi uguali, ma il nostro orecchio

involontariamente avverti intervalli di seconda maggiore e terza minore, ossia quelli della scala

pentatonica anemitonica:

L’esempio seguente è basato su una scala pentatonica con 4 note quelle dello slendro.
Un'altra scala ampiamente utilizzata derivante dalla musica orientale è quella basata sulla divisione

dell'ottava in sei parti uguali. Nel sistema temperato viene detta esatonale in quanto composta da sei

toni interi, quindi ci sono solo due scale dissimili tra loro (do-re-mi-fa#-sol#-la# e do#-re#-fa-sol-la-

si, con relative simili trasposizioni):

L'uso delle scale pentatoniche ed esatonali, in cui non vi sono semitoni, comporta l'assenza del

tritono, quindi la libera combinazione dei suoni della scala e la presenza di cadenze unicamente

plagali; il clima sonoro che ne deriva è simile a quello della “tonalità sospesa”, in quanto melodia

ed armonia vanno di pari grado.

La volontà di distaccarsi dalla dottrina classica è notabile anche nell'utilizzo copioso del moto

parallelo che prevale su quello contrario, soprattutto per gli intervalli considerati principali, ossia

l’uso di quarte, quinte e ottave parallele tanto da rievocare l'atmosfera dell'organum medievale.
Tipico era anche l'impiego di accordi di nona per arricchire l'armonia con ulteriori colori (accordi di

nona paralleli).

ossia la sovrapposizione all'armonia originale di accordi che sembrano sfuggire dalla tonalità

modulando improvvisamente; essi non possono neanche essere considerati come dei cambi di

regione in quanto sono posti in successione e si esauriscono svanendo.

Così facendo si viene a creare una ambiguità tra le diverse tonalità con effetti elusivi di

modulazione che tendono ad imitare i contorni non definiti dei quadri impressionisti.

L'assenza di formule di cadenza o comunque di formule conclusive all'interno della struttura

compositiva rende le opere di Debussy una trama continua con un andamento sospeso che non

tende mai ad una conclusione vera e propria al contrario delle melodie classiche che avevano un
chiaro punto d'origine ed una altrettanto chiara meta finale.

Debussy ricorre spesso alla trasposizione esattamente parallela degli accordi tanto che questo

procedimento peculiare dell'autore è stato chiamato “ripieno”. Tuttavia il termine viene usato anche

per altri tipi di trattamenti accordali presenti nella tecnica debussyana che vengono quindi a

classificarsi in:

1. Il ripieno tonale, che consiste in una successione parallela di accordi facenti parte della

medesima tonalitàIl

2 ripieno atonale, dove vengono alternate triadi maggiori e minori in modo tale che i suoni

del primo accordo non vengano riproposti nel secondo e così via;

3 Il ripieno modulante, in cui vengono usati accordi sfuggiti che non rispettano alcuna tecnica

accordale, cosa che rende più vivi i passaggi tra un accordo e quello successivo;
 4 Il ripieno come cornice, in cui il moto parallelo viene utilizzato solo fra parti esterne;

5 Il ripieno slendro, in cui viene utilizzato un pentatonismo limitato a quattro suoni quindi si

adopera la scala tetrafonica

Sull'esempio di Debussy, il linguaggio musicale del primo Novecento muove verso una

giustapposizione più che all'impasto di timbri (come avveniva nel romanticismo), anche all'interno
di uno stesso arco melodico, favorita anche dall'allentamento dei vincoli armonico-tonali verso il

neo-modalismo e l'atonalità.

L'orchestrazione impressionista inoltre prevede il potenziamento della sezione delle percussioni, sia

per la varietà e il numero degli strumenti impiegati, sia per il peso crescente che essa viene ad

assumere nel discorso musicale, nonché l'utilizzo dei registri gravi di flauti e clarinetti, che

contrastano gli acuti dei violini, delle sordine per trombe e corni e di modi di attacco rari (frullati,

tremoli, suoni armonici).

Nelle opere strumentali della maturità di Debussy il flusso sonoro si addensa in immagini che solo a

tratti acquistano consistenza tematica e profili precisi e definibili e raramente il tempo è diviso in

parti proporzionate percettivamente riconoscibili. Il risultato è quello di una suddivisione del

discorso in brevi frammenti ciascuno dei quali gode di propria relativa indipendenza.

Proprio questo problema della strutturazione formale induce ha definire la musica di Debussy in

termini di impressionismo, anche se il compositore francese rigettò sempre questa denominazione

per la sua musica.

Score

RIPIENO VERO E PROPRIO

ripieno slendro (pent.)

œ œœ œœœ
7e in 3° riv
4 œœ œœ œœœ œœ
& 4 œœ # œœœ œœœ b œœœ œœ Œ Ó
œ œ œ
œ Ó ∑
œ
œ œœ œœ
? 4 œ œ bœ bœ œ Œ Ó œœ œœ œœ œ Ó ∑
4

œ . j
ripieno slendro (pent. difettiva)

&œ œ œ œ œ œ œ . œ œ œœ ˙
œ œ ∑ ∑
6

œœ œ œ . œ œœ œ ˙
˙
? œœ œœ œœ .. œœ œœ œœ ˙
∑ ˙ ∑ ∑
6

∑ ∑ ∑ ∑
11

&

? ∑ ∑ ∑ ∑
11

∑ ∑ ∑ ∑
15

&

? ∑ ∑ ∑ ∑
15
2

∑ ∑ ∑ ∑
19

&

? ∑ ∑ ∑ ∑
19

∑ ∑ ∑ ∑
23

&

? ∑ ∑ ∑ ∑
23

∑ ∑ ∑ ∑
27

&

? ∑ ∑ ∑ ∑
27

∑
31

&

? ∑
31
Ouachita Baptist University
Scholarly Commons @ Ouachita

Honors Theses Carl Goodson Honors Program

1974

The Techniques of Impressionism in the Preludes of Claude

Debussy
Janet Duffel
Ouachita Baptist University

Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses

Part of the Composition Commons

Recommended Citation
Duffel, Janet, "The Techniques of Impressionism in the Preludes of Claude Debussy" (1974). Honors
Theses. 618.
https://scholarlycommons.obu.edu/honors_theses/618

This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly
Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of
Scholarly Commons @ Ouachita. For more information, please contact mortensona@obu.edu.
THE TECHNIQUES OF IMPRESSIONISM

IN THE PRELUDES

OF CLAUDE Dl~BUSSY

by

Janet Duffel

-·'

Honors Project
Spring 1974
 Claude Debussy, called by Bartok "the greatest
composer of our period" 1 , was one of the most important
composers in the history of piano music. He int.r oduced
a new approach to musical composition which is best summed
up in ~ excerpt from a letter written by Debussy in 1885:
I don't .think I shall ever be able to put
music into a strict mould. I'm not
speaking of musical form; it's a literary
question. I shall always prefer a
subject where, somehow, action is
sacrificed to feeling. It seems to me
that mysic thus becomes more human and
one can then discove2 and refine upon a
means of expression.
As a student at the Paris Conservatory, Debussy
showed little promise. His violations of the laws of
composition annoyed and bewildered his professors. A
description by a fellow student of one of his improvisations
at the keyboard reveals many of the features which are now
accepted as general characteristics of Debussy's piano
music.
At the piano we heard groups of consecutive
fifths and octaves; sevenths which instead
of being resolved in the proper way actually
led to the note above or weren't resolved
at all; shameful f'false relations"; chords

. 1otto Deri, Exploring Twentieth-Century Music

(New York, New York: Holt, Rinehart and Winston, Inc.,
19 68) , p. 1 52.
2 Edward Lockspeiser, Debussy (London, England:
J. M. Dent and Sons, Ltd., Aldine House, 1951), p. 25.
1
 2

of the ninth on alL degrees of the scale;

chords of the elvventh and thirteenth; all
the notes of the diatqnic scale heard at
once in fantastic arrangements • • • •
And all this Claude called 'le regal de
l'ouie' (a feast for the ear).3
Because of his departure from the basic harmonic
principles which had been in use for hundreds of years,
Debussy was one of the principal originators of the new
piano style in the twentieth century.4 Although Debussy
was not always the first composer to use all the devices
considered part of his style, he exploited them to such
an extent that they became 11 part of the vocabulary of
music.n 5 · As the music of Beethoven bridged the gap between
the Classical and Romantic periods in music, the music of
Debussy served as one of the most significant bridges
between the music of the nineteenth and twentieth centuries. 6
Although the music of Wagner, of Russian
nationalists, of the Far East, and of Mussourgsky all
had a powerful effect on the formation of Debussy's style,
his creative inspiration came from Impressionist painters
and Symbolist literature. "Symbolist poets and Impressionist

3Ibid, p. 18.
4Joseph Machlis, Intr.o duction to Contemporary
Music (New York, New York: W. W. Norton and Co., Inc.,
1961), p. 127.
5Peter s. Hansen, An Introduction to Twentieth
Century Music (Boston, Mass.: Allyn and Bacon, Inc.,
1967), p. 28.
6illQ, p. 13.
 3

painters helped to sharpen th~ senses of their contem-

poraries.117 To the Impressionists the subject matter
itself was of less importance than the impression the
subject aroused. They turned away from realism and were
more concerned with color and light than form and substance.
The poets often sacrificed clarity of statement to emphasiz,e
the sounds of the words. Their primary aim was to establish
a mood through the sound and rhythll. of their verses.
In the Preludes, Debussy creates a mood by
exploiting · the resources of the piano. These twenty-four
pieces contain all the compositional techniques whiqh
De·b ussy had formulated through experimentation with
various harmonic, melodic and rhythmic devices.
In the area of harmony, Debussy's most important
I

contribution is his treatment of dissonance. Previously,

the use of dissonance had been governed by the principle
that a dissonant chord must be followed by moments of
relaxation through resolution. But Debussy uses dissonance
to add color rather than create tension •
• • • Debussy's harmonic world has a different
.flow from the music of the preceding era;
· because there is no urgent need to reach
~ destinations', the flow of the chords
assumes a gentleness, an unforced quality.
Instead of sharply drawn harm9nic progressions,
chords are presented, often merely for their

7Peter s. Hansen, An Introduction to Twentieth-

Century Music (Boston, Mass.: Allyn and Bacon, Inc.,
1967), p. 12.
 4
..
sound values, with one unresolved chord
gently ~lowing to the next, Without
eliciting any need for resolution of
these chords.8 ·
The following example, from ''La vent dans la plaine",
. .
illustrates this technique of leading a dissonant chord
to another one on a different level rather than resolving it.

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.
(New York, New York.: Ho t' Rinehart and Winston, Inc.'
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 5

One of Debussy's f~vorite harmonic devices is

the use of p~rallel perfect intervals--fourths, fifths,

and octaves--and parallel chords. Some type o£ parallelism

is found in each of the preludes. In "Danseuses de
Delphes 11 , Debussy uses parallel chords between sections
of the piece to add color.

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The main characteristic of "La cath,drale

engloutie" is the use of parallel chords. The harmonies
of the entire piece are based on parallel chords. In the
first section, the harmonies are unusual because they are
composed of fourths and fifths--the third of the chord
is not present. This type of harmonic structur e, called
organum, helps to create the atmosphere of a cathedral
because in medieval times chants were often sung at
intervals of perfect: ~ fourths, perfect fi f ths and octaves.

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 7

J)ebussy also uses para~lel chords to accompany

the melody. In ''Hommage a ' s. :Pickwick Esq. D.P.M.P.C.",
the melody of "God Save the Queentt is in the bass in
octaves, accompanied by parallel chords in the right hand.

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As in the example above, Debussy often writes

his melodies in octaves, accompanied by different figures
according to the mood he wishes to evoke. In "Feux
d 1 artifice", Debussy accompanies his melody by whole-
tone passages.
 8

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 9

In u Les col lines d '.Anacapri 11· , broken octaves are used to

accomp~y the melody.

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The other perfect inte+vals--perfect fourths and

perfect fifths--also are used as accompaniment figures.
One section of "La fille aux cheveux de lin" has parallel
fourths accompanying the melody, followed by a run of
parallel fourths at the final cadence.
 10

The parallel fifths in "La s~r6:nade interrompue 11

not only serve as the accompanying figure when the melody
enters, 'but they also suggest the sound of a guitar.

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Debussy often uses the intervals of seconds and

seventhsfas accompanying figures and to form clusters.
The accompaniment figure in "La vent dans la plaine"
is based entirely on the intervals of seconds and sevenths.
At the beginning of the piece the intervals are major
sevenths and minor seconds, but in the middle section
they change to minor sevenths and major seconds. At
the end of the piece, ma.j or sevenths and minor seconds
return in the accompaniment.
 11

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II IL _h

\ lt---.1'
[... rV TJ'-t
v lr> II
_ 4.1
I
'-f .
"-1
I~
~ r""
-.....
-....~
I
~
-:l
\ I.: :. 1 v
1- ~ ....
I

~op~~ - ,_ .. i
.J I
:- /
...1 -
( ~
. ~
.
-- . • - - --

In 11
.-.&,eux d'artifice" both major and minor
seconds join the sections of the piece. The right hand
figure is composed of seconds and is a second above the
note played by the left hand.
 12

·/
I
"")
!.- . I
(, 1"\ v 0
c...J
'
.)
c..

I
I "'\
11.. ) )l
~-, I
·~'{,
'v . . . . . ·. . . . . . . . . . ....
-
0
..\: .) Q
• 1.. • ~

q#1 .. 11. i i. i i ..
~

•
Ff>9J ~--r~ ·'·
; C..

~~;~
N·. I
I
·{

,....-... • II
qj .I J . -t
. . +: . . . . ib.l .I. . ~
.J. l. .
j J
<#
jjJ.Jj.J.
, . . .
., '
I
''
v

\ ...../ h)}
"u
' --· ~

Later in the same piece, Debussj also uses clusters formed

by major seconds.

ee:le.M.J... - - - - - - -- - - - II
-
/t_
. A
- ~,.
/1r
I
I r--.
till
Jl l
r;t"\Q
1..: .J c.J /
I
/
/ ..,

I
I
I
I ~

I
/
/
• r
"'
/
/
/ -. f
I
/-

I
/
/
/
"' I
I ,.

! f
~~
I
~~:
(...

lp.J ~
r 1
i .... Ja ~ !r· I

r\ I
I J )I
'1 ..........
(, "\(") I '-. .., ....
-......:r. .........,
\; .) 0 \ ........
. -=lf"1!1

"'-.""'
c..
~ ~
-............
..
"'--~
-.,
,.....,_, i I

- r
0
 13

One of the traditional devices that Debussy uses

extensively is the pedal point. When. the pedal point is
in the bass, it often helps to establish a tonal center,
as in 11 Les sons et les parfums tournent dans l'air du
soir."

.
. ..- ...........
,.... f--11 ' - <
~lk ~~ _ ..:!
- -
-- --r•;i -4 .....
~ --
f...,ol ~ - -4

-- ---r
1 ...

~..! .!!
:rl:
'"-- '--
-~~~ ~
'"'-
. -
' \ -1+

-- r
-.;;;- l
I +t
,... -ttC"\ 'I
J
I
,, "' +r ......,:)
'
1t.C
....
\.
l..
r • Ill 1--

r<
\
\
~
\.. J ~<::!·
.........-~
-:s ....... " /"
-
p. fi,<l !('-<-
411
.......
~
p - ... -
~ i..
i
-~ 1-:~e~
I .- ~ . ~~
~ ~ I
~
,..-.._.. ....
-1+
'1
:::;>
. ~41
'-"' 0
'--' :It' tt.C '
./ ++ 'l
I ~· ::>·
.__.._ _...,
.. 1-'- - ../ -
-
e:. . ;;. -

- ~··- - --- - - -

11 Voilesu is base.d on the whole-tone scale. Because all

the intervals in the whole-tone scale are an equal distance
apart, the piece does not have a tonal center. But the
B" pedal point which occurs throughout the piece in the
bass almost becomes a tonal aanter and also relates the
contrasting sections of the piece.

0 - oi":J ..
I ( II '"\ -· "r I
- ~

I A e>i I
\ 'rh
\ LJ
I
....
-
~- .JI

L T l I
:'-") • 0'
1~.- J I I It I I
I _, r bel':./

~o--
--....,
b....
--
tJ
lj .1.
~
 141

Debussy's pedal points are not always in the bass. "La

Danse de Puck" has a trill in an inner voice which is
used as a · pedal point.

/
1 / h
h _[ -l
r]
.
r.' ~--
-f
r ~- . .
"I
I T
I -1
,-,
I _r
/
"· r
.
- ....._ /.------_,
\ f( I'"' 0 I I I I 1..1 1~ II I I I
\ '-.J..I t--1' !-- - I='--'

- - - - - -:-:::=::::::::.-

I
If ["'\w
II.. _)
D C:::l i C:
,
t!

T"-- r L ---1
__.,
'E'.~ r~~"::>t+

The feature most commonly associated with Debussy's.

music is his use of scales other than the major and minor
forms.
The scale is the structural organization
behind both melody and harmony, and when
this is substantially changed from former
musical practices, herein lies the clue
toward the recogni ti.o n and · understanding
of this new sound.9
Among these forms are the whole-tone scale, the pentatonic
scaleiJand the modal scales.
To understand Debussy's preference for
scales other than major-minor, one should
think of the inherent psychological
effects. One should keep in mind that
the major-minor key system with the
tonic-dominant axis sets up a certain

Harmon : Romanticism
New York: The Free
 15

tension system with very well-defined

destinations and harmonic purpose.
This is e15ctly what Debussy wanted
to avoid.
The modal scales occur most frequently in the preludes.
In "La fille aux cheveux de lintt the melodic material i.s
in the dorian mode, but it is harmonized in the key of
G11 major.

- i f6 c.olnt..e ~-l dGUC.(;;.f"YI<O rt evpr> '~L f C- 1 :.(aL,J

I
f
('\ ,-- 1'-- ..i" , ..--...... ,..,..-, .A-.., b
/ h L ? ~ ~ l
I / \, n ~ r r r I 1 '1
¥.,."'-,. /Vi 1""-""- "\ / J J ~
I ..1 I ('..... 11-... I/~
rr \ v b ... ! I I ..1
I
.
I f J .J ,J ..1 .J 1 .J I"\ ••
I
'-
()
.I 1
~
r
1 1 r
l J " J
'1/1 l
,I J
..
••• - ':1
I
i

t l F~ ~'f
._.,I

p ~1\~ r-...su~r-

..........,.0
'-" I g
_./ h
h
rJ ~
-)
.:::>
J? I I
-1
- '1
(
...,
7 I
· :::::=

fl
•f
t/. -,...... ~
......
,. ""'\T
r
[
. , ..
I' I
v
r- I"
I
L
--
_1:1•""
p
,...,

'
' I
'-"-..__;:r
/
~ /
~"'--'

The identifying characteristic of 11 Voilesn

is the whole-tone passage which occurs at the beginning.of
the piece.

10 otto Deri, Exploring Twentieth-Century Music

(New York, New York: Holt, Rinehart and Winston, Inc.,
1968), p. 157.
 16

r'\, "* ;,.,.

~- ..
... .. r~~ ..
'2:1" .... t--
/
~ "'\
01','1 'z:.
~
•
• 1'1 ,.. '"5o
~ ~
..... •
~
• •
~ ~

u -.. r-.

. ~"""
( / 1"\

- .,,
( ~ J. t--o-. ~ _.!!_ .E.• _...,
\. ..1 ..........: ::::---. ......._ I -~ -'= ['oo. ........,;
":::"" _]UII
v -
I) '-'
.,
p -tee tl dcu~ <. > p ~ pLi).. p :::::- -""" .

I
-
,..........
-
'-' J (;I <::)

(,
I
- .· -· ~ 7
r
' - -
r"--
·- . ·-· -

When the pie·c e changes keys, the type o:f scale pass·age
changes to pentatonic. At the end of the piece, the
whole-tone :pattern used at the beginning returns.

'
I' ~~'"-""
.. .. pm.:r_l!. I

_/ ~ LI
1-J·O{ h~ D
\ I / "-h .. ........
~ to- r
~ __..
J. I w Ill
.. ( 1
, J
_I
_<I

.
<
~

""~ I
(

p TIJ..I ~ ~....-F I
J'""\. 'i'\ ..
i

'
- "-]•....., h ...
II f> ,.,
, . , tl!..
v
•.

-......... -"'!~_

.--
•

- l
f

The melodic figure in "Les 6ollines d'Anacapri "

suggests the penta~onic scale. A hal:f-step occurs between
the A# and the B, but the e:f:fect is that o:f the pentatoni.c
scale.
 17

~--

\' .J IUl

t. '\.
\!.L/
T
1\J./
+J
.
pP .......__
.. . . -·
- •
-
I•
. -. . ..
I
I

·-~
.. . :-

Debussy's use of the chromatic scale is primarily

as an accompanying figure and to provide color between
sections of a piece. "La Terrasse des audiences du
Clair de lune" has chromatic passagew used in both of
these ways.

/ 'jL I
I /
I ........ - \ U., /
j u
c

I
1, I 1.........-
I
/""\. • ..,... l1'

:rs; ..,..
./
·"-'
c ..
( . {(1"\?

(..
r---
L -- ""'

ff \ b ..

i' '\ 1f .........

 18

. -- ---- - --
~
1\ ... it r--
{ Ill .11-11- :tJ:. I I · ~ 1"'-r--
~lfi#"1

-
V 1P1T I I I ~
/. C"'\ I' # ,.\ I •t)j l.fl Jl. .JI
\. -J \ '1 "' c• "II /

~ 9'11_ ~
I
~

/"'\ I J.1o -u: II

~
"EiiJL. -:r---1 :-.;;:::--
"' I • it., l'.j.j. l(: . '1 ..1. ..1 r............::
I 1f:' tr ,I' Of I I
I' 1i
I ..,. ,
,.,J I
~

I
I
I -11:.
-""' ..l.
I I '11 ,If#- '"11:
\ f tt:- 1T • II I
\ :tt'
~.
t

As a result of the use of modal, whole-tone,

chromatic and pentatonic scales, Debussy's cadences
depend more on the completion of a certain theme or
section of a composition than on the harmonic progression.
The final chord of the cadence functions as a rest chord,
because it is usually less dissonant than what precedes
it. An example of this type of cadence is the chord
which serves as the final cadence in 11 Ce qu'a vu le vent
d' Ouest".
 19

f~l
".
9~~ "
().l.l ~~eMe~-l

-- - ....ot;-I
--
- ~~
- - "-
.j

-
1\

-
'
1"\-tr ~ .... •
/ ~'1' -:;;_ " 0 b~ I I I
II
!l
/
(( I"\ '"" LL ~-
'-' )•
../ J.l L J#c: t""
> I
\: •I"' _,.
I
,
.... ~
.., r
I •
' 1../ t •

~
lf .
0 ·,L_ r

I ff,..
A
•
~ >-F .:::::: sl+~~

-
r\ -1+ ~

""I • "
/-1'1' ~ f.
'"'" .
~

/
I ""\
11 ..,;,} .j
J I
oi
....., '1 "'
~ ~
1\
1
"":t.
{
. \.. ~
c....
J -r - .......: ~• -"1·
p -..
- 15
._
-
ll

-Go -;f.
't ~~·=
'-
- ...-

The use of these scales and cadences helps to

obscure the tonal center. Debussy often usee a particular
key signature and then a chord or seDies of chords which
cannot be analyzed ashaving any relationship to that
key. This kind of harmonic progression appears in "Les
sons et les parfums tournent dans l'air du aoir". The key
signature is that of A major, but in measures ·34-36
there is ~ series of parallel chords which cannot be
analyzed in the key of A major. This harmonic structure
results in an indefinite tonal center.
 2.0

~ Rubo.~
I
h'
111."2~
II .._,! It! ..
. • • • . •
• • • .
I. v
·- • -
I v- I. -11-.

(5r; .. '~!1 ?
l..) """t ,-rr-
l.. ·j l~~~ ii~ f;lfl~
.. 1f" ~~ ·~ =t
1 /:1. <:
-"' ' I I"J
b•
I II' I:J
•• •
-
±r,.
I ' V £.. )
/h
" YJ ....,.
'I
"II , ,. . . . .
'
I
'
t:J•
If
t
•
f'
I
I
I
o•
,,
I
'#.•
f:1 ,
Cl
I
• l j
I

'------ _,
lD.. ho.sse un petA.. appuyee et sou.fen.u
l I

Many of the Preludes change key signatures at

least once. "Feux d'artifice" begins with the key
signature of F major. Then the key signature changes to
Db major, to c major, to Ammajor, back to C major, to
F·1t major, to c major, to F-n major, to C major, to F major
and ends with the key signature of C major.
Another technique which obscures the tonal center
is the use of many accidentals. At the beginning of
"Feux d'artifice" the key signature is that. of F major,
but the accidentals in the first measure obscure the
tonal center. The pattern for the first half of each
beat is F-G-A. But on the second half of each beat
the pattern is Bb-Ab-ab. By using some of the same tones
in each pat~ern with different accidentals, Debussy
obscures the tonal center.
 21

("'\ ~It, ~0. ~

_,. 1:)
~ ~
1.,;

........
. •'
I j J
I 7 Jr.
,_ / ....
ITt ~c ·~ ,. ~ ~
I I\.. !j C.. I I r
I)
IG
,...... ~ J ~3~
~ ~1:::1.
:3 ~:=e
~F-" !'!
~ l2l
E:~ ..:>
~ -

-
1/ IIC:: i::l :J;..-1
L }""
~ I "TI -
.,
1.-. "1
I I lTI "'\V 0
1\. I\: 17 041 • lbll
I
•
j .. I

I c...

Debussy 's melodies frequently consist of short

phrases which are often repeated. The melody in "Danseuses
e
de Delphes" is composed of one short phrase, its repttition,
and a longer phrase. This melody is presented in different
registers of the keyboard and with various accompanying
figures.

.
~ ·~ ~~ --
"11 ~

--
"''I
I ~ --
I n
~ - -41- - ~
-.. -·•
I
\ /
/
lr. " ....:..;>
'")
\..,
I f-
'p
.-, it ~ ~ ~--
,, - •- -
7 1' ) V • I ~
-~· •
' \.:.. ~ I I • I • • I

lc.J ---J.. q.~. "''I 1- 11'-11 p..J t:p ""''I ,..il~ - • I 1

J) p } 1- .....
~ ~
I
jf_, ..: ~
'I 'i 11'111-
••. .
•
..,..
,--..0 '"""") ~I 1-•
,.
.. ,
'-"

1-7 L.
0 t7 .._)
-,
I
J .,, . • ;!.• J
I •
-..,
•
., .... •
•
v

-
•
- - • ... - ...~
~ r.
~

;:
.r
;:. li~ tt•
l
' •
.
 23

Throughout the piece, the meter change is indicated by a

broken bar lin~ where the normal bar line in 4 should
come.

T....._
.
- - -- - - - = - · -
The time signatures at the beginning of "La cathedrale
· engloutie" and ''Les Collines d' Anacapri" are ~ =~ and

- -·

~_,Lo.. Qo..:ti..ec;l~g.Le
1 eN._gLcu-tLe.
I
 24

The rhythmic pattern of the accompaniment which

appears throughout "Des pas sur l a neige" obscures the
meter through the use of an uneven triplet and tied notes.

In 11 Canope"' different subdivisions of the beat

are used in the same phrase to obscure the meter of the
piece.

("\ -tuEft~~Q. .
I
I

r
/
17/
II \ "' I
... --
\_j
' ...
l I I
~
~
~
.tv
...-il I I
I.J.-I-I"
'
\.. J I ./
(., '
'
\
L:::.
I

p
("\
J 11
I "1- lt.-
(tF\v/T=' "~"'-"
l'i.. [7
!C.. . 2-. Q.
5 (f5' I

"""' "
1'-'
~'--"' VI I
l
 25

11 Canope" also has an example of syn copation. The emphasis

comes on the second beat of the measure rather than on
the first or third beat. The first beat is a quarter
rest, and the third beat is a tied note.

(\ .
/ u
/1 "'I ~
I f'r"\ v Ll "? ? ~ ~
I\, Ll I \. ~ r-il ..j • lt. ...J I I
\ 1<...
1f~.J,:f . t: •._, ...::.::_ ~ I
I _.............. :::--:=--:- '
I .. .....-.. ,....
I
I
!, 1..-... 0
I'-' J • 1
,._.~f>,ll1
I " I
...
~

.., ~r-
-f?j-•
II\ •
r- 4-

r
I
\.

·~
1..
--
p pP II
I

II'"""\ o tl
!'-')' I
I ';;.;.;.-
\
~u-
OJ
I
. '-1
1
\,
-

'1 -::::: . ~-

The influence of Spanish rhythms on Debussy's

music is obvious in "La puerta del Vino". The tempo
marking at the beginning, the great number of accents,
and the dotted rhythms indicate a Spanish influence.

I
/
f'l
t
.fl
.,J~::
. > n
1
} ....... ~ >
'""''1 r11.. o< ~ l:f ,,; .;> \ L 1'1 I l:i ; >ft.~ q 1:1
I L. v. I I I \ I '-'1 (_ 'I \"1r'
VfJL '1 \bl qf 1:1~ "I 0, b,
'I~
~kk
IV

~~
~~
h1-
}a.pre< c:::::::::. p~ ~~p=~
'
'
....... .
" /' ~L
1\
d-.
.,.I. ... Lf
....
./"""" ./ 1 - .A
_/':.;of 7'1
....
&, II I I I
I V lll- T ,, II I 1\ \. b• II \ll
• •. '- I> • I 7
\!-.___;7 '-?:___,.-;- ""--"~ ·
J.
'-"1 · _1 •
 26

Another prelude which shows the Spanish influence in

melody and rhythm is "La serenade interrompue".

/.
1\
I,
/, v VJ f... A
l !:) II 1)
I') In
v
I')
J ....I .I
--..,
-•
........__
I
.l
•
,,...... ...........

_,T7
tu
,
1\
r
"""I 1:1~
f ,,
,__
1
I
...
..1
•
I
I
I I.
j)( ~

~
I

\,.,.
• • •
<
J". '
r n
lin
I

.. t . h f
h
..
v
'J
..J
()
...
r •
I
.... - ... -
I
...
I"' - r•
I
...
..
. ••
I
~

~
I
_.
l t:l6 ~ ·
II
I
... ~ -
. ...
....
l• " ' • r • r •
... _,
l
I
... - .J:I I~
••, ' I
t:JIJ~ '
I
I
I
'
I
I

•
SeMpre
•
so• ret

r..
I I I? I.
..., I

r v"'l' rJ "I..v
L 1'\ Nl\ I
I Il I IT
\. .J
•• •
I.

•• I

)
u ~
'1 II
- !-""'
,___

.'
...
t-.:: - -
J .. ~ ~ -
b. ... I-
~ · ... ~ ~ ... -
· ~ I-,; -

~ b.lll
:::::--

-.:;1-
I
•""'.
J. v
I 1,..· 1 "
lr.
T
o• ... ·r-- II '
t:~•l
I
•.
c•
I
r •
I
-
~ ~ n r,
I'
-

Debussy is precise in his tempo and dynamin

markings. In each prelude there are many markings which
tell the pianist exactly what to do. The remarks at the
beginning of each piece often set the mood for the entire
piece. "Dans le style et le Mouvement d'un Cake- Walk"
II
·characterizes the atmosphere of "General Lavine G eccentric •
"La puerta del Vino" begins with the following instructions:
"avec de .brusq_u~s oppositions d' extreme violence et de
passionn~e doucenr".
 27

The comment at the beginning of "Voiles" reads: "~ans un

rhythme sans rigueur et caressant." One of the specific
remarks in "Lea collinee d 1 Anacapri" directs the pianilbt
to play that section of the piece "avec la liberta d 1 une
chanson populairen. Some of the most frequent tempo
markings in the Preludes are ~c·edez" (ri tard), "Retenu"
(ritard to the next tempo marking), and 11 Mouvement"
(a tempo).
The majority of Debussy's dynamic markings are
pianos and pianissimos.
Seven of the Preludes of the first volume
start pp and the other five are marked p.
Stunning dramatic climaxes occur, but they
are momentary flashes soon to be replaced
by quiet.11
Debussy not only uses precise dynamic and
tempo markings but also gives specific directions for
playing the piece. For instance, in measure 48 of
"Voiles" the directions read: 11 comme un tr~s leger
glissando". One section of "Lea sons et les parfums
tournent dans l'air du soir" says that 11 la basae un peu
appuyeie et soutenu.''. In the next to the last measure
of "La terrasse des audiences du clair de lune", the
words utimbrez lagerement la petite note" appear.

11 Peter s. Hansen, An Introduction to Twentieth-

Century Music (Boston, Mass.: Allyn and Bacon, Inc.,
1967), p. 33.
 28

Debussy makes use of the entire range of the

keyboard. Some of the preludes in the first volume,
such as "Lea collines d'Anacapri", make use of extreme
registers of the keyboard, but not until the second
volume are the high and low registers used simultaneously
with the middle area empty. This technique appears in
'1 Brouillards 11 •

r Mouv +' &- ~- -~ ----- , -- -,

,.----....,
I ~;.. ~ ~
r- - r-
~ *~ it~
-;- --r-- if:.' a
~
r- :~~:;.. ~·
-- r---
I' ~ ~
J I l

--
I ..t t. II

!J "\
\_ !.J
~

(~ ~·
1\
1T
) ' "'
/
#
II
• _1[.
jt ~·
I
\....

<> pp<
~
/, ~ c::
"
II :
II ~
'

(
l _} (
'
\....
pp un pe~ en JQ hors
) II /'f~
_,()tj_•
w I ,
~
• \ -:t:f.d
•
\ 1\
,.
-- -H- I I
I }
I 0 -:Jt • -tt-'
,.H. ~ ~·
II
'-
~ ~ ~
-: M 11":. . ~.J
8~0.SS{)..------------- - ------ ----- 1

By using the compositional techniques discussed

in the preceding pages, Debussy arrived at one of .the
-'
most original and i nfluential styles developed in the
early twentieth century. His new approach to dissonance,
his weaving together of brief, fragmentary melodies,
his use of scales other than major and minor, and his
new B!>PDeption of sound and form influenced the leadling
 29

composers of the twentieth century.

One can state without exaggeration that
Debussy exerted the most important single
influence on a host of composers, including
Stravinsky, Bartok, Berg and even Webern and
Boulez.12

12 otto Deri, Ex¥~oring Twentieth-Century Music

(New York, New York: Hol, Rinehart and Winston, Inc.,
1968) ' p. 165.
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...J

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