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Analysis 20th century 2002-2003 (the hague)
 september 6, 2002
Though every 'decision' in these matters always can be considered as arbitrary, it is rather logical to see the musical impressionism (or maybe better: symbolism) of the 1890's as a starting point of the music of the 20th century. And Debussy as the first important 'modern' composer.

Of course a decision in this sense has to do with the rather radical change of musical style we observe, when comparing the music of Debussy with  late romantic music. Even in rather early pieces, with the Prelude à l’après-midei d’un faun as probably best example this change of style is rather obvious. A change of style that is with Debussy at least to an important part caused or influenced by a change of artistic and esthetic attitude: away from the 'heavy' late romantic way of composing, and with that away from a style that - in the opinion of Debussy - tends too much to enforce a specific way of listening, and tends to be too much standardized in its harmonic and formal patterns.

Starting with the Prelude à l’après-midei d’un faun Debussy is aiming at a more 'free' handling of both harmonic and formal aspects of a musical composition. In the harmony chords often loose their strict connection to a certain degree within the scale, and/or can more or less stand in loose, 'non-functional' order. Voice leading can be more free also: the so-called parallel harmony is a good example of composing patterns of sounds, in which the traditional rules of voice leading are not valid any more (and very often would not make any sense either, also because in most situation where parallel harmony is used the chords do not form a traditional functional-harmonic pattern).

Another aspect of Debussy's harmonic language is the use of added notes (above the octave). In most cases they are added to a seventh chord, sometimes to a triad. Possible additions are:  b9  9  b10  (when the third of the chord is major)  11 #11  13  . And when we read  possible additions to a dominant seventh chord (  b9  b10  #11  13 ) together with the basis of the chord  ( 1 3 5 7 ) as a scale, one of the 'new scales' that we encounter in the work of Debussy can be found, the octotonoc scale: for example:
the dominant chord  c e g b-flat  can together with the additions  d-flat e-flat f-sharp a  be read as the scale:
c  d-flat  e-flat  e  f-sharp  g  a  b-flat  (c)   .

Apart from the octotonic scale we encounter also:
- a renewed use of the old 'modi'  dorian, phrygian, lydian, mixolydian . This is known as 'neo-modality'
- use of the pentatonic scale consisting of only major seconds and minor thirds (anhemitonic pentatonic scale - anhemitonic=without half tones)
- use of the whole-tone scale (for instance  c d e fis gis bes c  )

The pentatonic, octotonic and wholetone scales don't have a root, in principle, because of the fact that they are (fully or partly) symmetrical (as opposed to the diatonic scales major, minor, dorian, phrygian, lydian, mixolydian that are all non-symmetrical ). We will come to that in the next lesson more in detail... - now first some questions about the piano-preludes - you can listen to them once more by clicking on the 'ear-button':
 
The pieces are played by Anker Blyme (Danacord)

 
1.
Danseuses de Delphes (the first prelude)
 
a Make a short formal analysis of the whole piece . This can be in the form of a simple table, or schedule.
b In various spots in this piece Debussy uses parallel harmony, either diatonic or chromatic. Indicate in which moments.
c Which keys do you hear throughout the piece? In which moments and in which ways these keys are harmonically 'confirmed'
d Give an exact description of the 'fanal dominant chord' in the last line of the piece (that is: a description that also describes the added notes).

 
2.
Voiles (the second prelude)
 
a Throughout most parts of this piece Debussy uses one of the non-diatonic 'new' scales i described above. Which scale is it?
b In one short moment a different scale is used. At what point, and which scale? 
c Allthough these non-traditional scales are used, we could still hear (at least parts of) this piece as tonal. Which also would mean that there is a tonic, and a key. Which key could be considered?

and eventually to listen to....
 
2.
Des pas sur la neige (the sixth prelude)
2.
La cathedrale engloutie (the tenth prelude)