Tonality and Form in Debussy's "Prélude à 'L'Après-midi d'un faune"

Author(s): Matthew Brown

Source: Music Theory Spectrum , Autumn, 1993, Vol. 15, No. 2 (Autumn, 1993), pp. 127-
143
Published by: Oxford University Press on behalf of the Society for Music Theory

Stable URL: https://www.jstor.org/stable/745811

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 Tonality
Tonalityand
andForm
Formin in
Debussy's
Debussy's
Prelude
Prelude
a a
"L'Apres-midi d'un faune"

Matthew Brown

Seventy-five years after his death, Debussy is often re- as a "silly obsession with overprecise 'forms' and 'tonality.' "3
membered as "the quiet revolutionary," who breathed new Sometimes, however, they address concrete musical issues.
life into musical art.1 He is credited with challenging the For example, Debussy denounced accepted notions of chord
authority of nineteenth-century tonal and formal practice, function; in a letter to Pierre Louys (22 January 1895), he
and with pushing music gently into the twentieth century. To announced that "tonic and dominant had become empty
quote Pierre Boulez: shadows of use only to stupid children."4 Similarly, Debussy
rejected the traditional distinctions between consonance and
Just as modern poetry surely took root in certain of Baudelaire's
poems, so one is justified in saying that modern music was awakened dissonance. With typical panache he insisted:
by L'Apres-midi d'un faune.2 Nothing is more mysterious than a consonant chord! Despite all
theories, both old and new, we are still not sure, first, why it is
For his part, Debussy did much to promote this radical image
consonant, and second, why the other chords have to bear the stigma
of his music; throughout his letters and journal articles, he
of being dissonant.5
launched a bitter campaign against the musical establishment
and conventional compositional practice. Most of these criti-
cisms are general in nature, and ridicule what Debussy saw

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901,
in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits
(Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith,
1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.
Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, 4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her-
Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans.,
to thank various people for helpful suggestions, especially Jennifer Williams Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.
Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas,
readers for this journal. 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith,
2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- Debussy on Music, 155. I have changed the translations of the words parfait
kins, Soundings (New York: Schirmer, 1988), 75. and imparfait.

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128 Music Theory Spectrum

He
He likewise
likewisescoffed
scoffed
at those
at those
who prohibited
who prohibited
the use of
the
parallel Is it not our
use of parallel our duty
duty ...
... to
to try
try and
and find
find the
the symphonic
symphonicformulae
formulaebe
b
chords
chordsandandproposed
proposedthatthat
tonality
tonality
should should
be fully be
chromatic
fully chromaticsuited to the
the audacious
audacious discoveries
discoveries of
of our
our modern
modern times,
times,so
socom-
com
and
and"enriched
"enrichedby by
other
other
scales."6
scales."6 mitted as they
they are
are to
to progress?
progress? The
The century
centuryof
ofaeroplanes
aeroplaneshas
hasa arigh
rig
to a music of its own!9
Just
JustasasDebussy
Debussydebunked
debunked
manymany
basic tenets
basic of
tenets
common-
of common-
practice
practicetonality,
tonality,
so he
soalso
he questioned
also questioned
conventional
conventional
ap- ap-Besides disdaining textbook formal stereotypes, so Debussy
proaches
proachestoto
musical
musical
form,form,
especially
especially
those found
thoseinfound
sym- in sym- also praised composers, such as Mussorgsky, whose works
phonic
phonicrepertories.
repertories.
In an
Inessay
an essay
for Lafor
RevueLa blanche
Revue (6blanche (6"are impossible to relate to (the) accepted forms-the 'of-
March
March1901),
1901),he he
dismissed
dismissed
a recent
a recent
orchestral
orchestral
work by work
Wit- by Wit-
ficial' ones."10
kowski,
kowski,claiming
claiming
thatthat
it provided
it provided
"only further
"only further
proof of the
proof of the Intentions are one thing, but actualities are often quit
uselessness
uselessness of of
thethe
symphony
symphony
since Beethoven."7
since Beethoven."7
He added: He added:
another matter. While Debussy's radical goals are hard t
Must
Mustwe
weconclude
conclude
thatthat
despite
despite
so many
so attempts
many attempts
at transformation,
at transformation,
deny, we may still wonder whether he succeeded in freeing
the
thesymphony-in
symphony-in all its
all elegance
its elegance
and formal
and formal
order ... -is
ordera thing himself from common-practice tonality and nineteenth
... -is a thing
of
of the
thepast?
past?HasHas
notnot
its worn
its worn
out gilt
outmerely
gilt merely
been replaced
beenby replaced
a by century
a formal conventions. Did Debussy really create sym-
plating
platingofofshining
shining
copper,
copper,
the shoddy
the shoddy
finish of
finish
present-day
of present-day
orches- phonic forms fit for "the century of aeroplanes"?
orches-
tration?8 Obviously, any answer to this question depends on the way
in which we decide to explain tonality and on the kinds of
Some ten years later, the barbs were no less pointed. Writing
analytical priorities we make in assigning formal functions.
for SIM (1 November 1913), Debussy censured his colleagues
Although there are many possible theories of tonality, this
for imitating the stale symphonic forms of Franz Liszt and
Richard Strauss:
paper will use Schenkerian theory. This decision, however,
requires some explanation. In particular, it contradicts the
prevailing view that Debussy's music cannot be analyzed by
strict Schenkerian paradigms. Surely, Schenker would have
disapproved; he made no secret of his dislike for Debussy's
music. In the preface to his edition of Beethoven's Piano
6In Debussy's conversations with his teacher Guiraud, he questioned the Sonata in A Major, Op. 101, he complained that the se-
rules prohibiting parallel sonorities, claiming that "there is no theory. You
quences of sounds found in impressionist pieces are valuable
have merely to listen. Pleasure is the law." In the same conversations Debussy
as "an acoustic phenomenon, but certainly not as art."1' Else
also declared: "Music is neither major nor minor. Minor thirds and major
thirds should be combined, modulation thus becoming more flexible. The
mode is that which one happens to choose at the moment. It is not constant." 9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music,
297.
These conversations are translated in William Austin, ed., Debussy: Prelude
to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21
1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertige
see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and
sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkun
Grace O'Brien (London: Oxford University Press, 1933), 84. erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis-
che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' de
7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche,
25; Lesure and Smith, Debussy on Music, 15. Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auc
8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.
in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129

where,
where,hehe also
also
condemned
condemned Debussy
Debussy
for pandering
for pandering
to the "me-
to the "me-After
Afterthe theearly
early
worksworks
especially,
especially,
one rarely
onefinds
rarely
tonic-dominant
finds tonic-dominan
diocrity
diocrityofof French
French taste."12
taste."12 closure
closure in in
a structural
a structural
sense. sense.
In Schenkerian
In Schenkerian
terms, this terms,
means that
this means th
For
For the
themost
most part,
part,
Schenker's
Schenker's
followers
followers
have accepted
have accepted
the the bass
bass arpeggiation
arpeggiation is not
is an
not
integral
an integral
feature of
feature
underlying
of structure.
underlying structur
limitations
limitations ofoftheir
their
methods
methods
for explaining
for explaining
Debussy's
Debussy's Linear
Linear
music.13 music.13 progressions
progressions are far
areless
far
common
less common
than in thethan
works in
of the works o
Some, such as Felix Salzer, have seen these limitations as eighteenth-
eighteenth- andand
nineteenth-century
nineteenth-century masters, asmasters,
is the multilayered
as is the multilayer
concatenation
concatenation of contrapuntal-harmonic
of contrapuntal-harmonic relationshipsrelationships
which nor- which nor
grounds for modifying Schenker's original model and, in so
mally
mallyaccompanies
accompaniesthem.them.
In Debussy,
In Debussy,
linear progressions
linear progressions
tend to be tend to
doing, expanding the notion of tonality in music. For ex-
of
ofthe
thesimplest
simplest
sort sort
and only
andofonly
local of
significance.'7
local significance.'7
ample, Salzer claims that, instead of being derived from a
Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is He
Headds
adds
that
that
structural
structural
levels are
levels
"feware
and "few
uncomplicated,"
and uncomplicated,"
generated from a background progression built from a chain and
andthat
that
thethe
richness
richness
of Debussy's
of Debussy's
music liesmusic
mostlylies
in the
mostly in the
of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, foreground.
foreground. 18 18
acknowledge that only a few of Debussy's pieces follow strict Nevertheless,
Nevertheless, there
there
are problems
are problems
with bothwith
of these
bothre-of these re-
Schenkerian paradigms, and that many of them require some sponses.
sponses. In In
Salzer's
Salzer's
case, case,
his revisions
his revisions
modify Schenkerian
modify Schenkeria
new type of explanation.15 Most recently, Richard Parks has theory
theory to to
such
such
an extent
an extent
that they
that
erode
they
the erode
entire foundation
the entire foundatio
claimed that, with some exceptions, only Debussy's early of
ofthe
themodel.
model.For For
example,
example,
by classifying
by classifying
chords according
chords according
scores (up to ca. 1889) conform in any consistent way.16 As to
totheir
their
degree
degree
of dissonance,
of dissonance,
Salzer contradicts
Salzer contradicts
Schenker's Schenker's
he puts it: claim
claimthat
that
in tonal
in tonal
musicmusic
there isthere
an absolute
is andistinction
absolute be-
distinction be-
tween
tweenthethe
behavior
behavior
of consonances
of consonances
and that of
anddissonances.
that of dissonances.

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate

This
Thisdistinction
distinctionis crucial
is crucial
to the way
to the
in which
way Schenkerian
in which Schenkerian
Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited theory
theory connects
connects
the rules
the rules
of harmony
of harmony
and voice leading;
and voice
once leading; onc
by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- the
thedistinction
distinction
is abolished,
is abolished,
Schenker's
Schenker's
notion of transfor-
notion of transfor-
monic Language," The Musical Quarterly 75 (1991): 146, fn. 20. mation
mation becomes
becomes
seriously
seriously
weakened.
weakened.
To quote Edward
To quote Edwar
'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, Laufer:
ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich
geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt By and by one asks what is left, as all the specific techniques Schen-
Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, ker described must all go by the board or be diluted into an indistinct
also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik
blur .... [I]f there is no technically consistent, non-speculative ba-
gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).
sis, then anything goes and likewise nothing.19
13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945),
chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).
Similarly, while Katz and Parks are justified in restricting
4Salzer, Structural Hearing, fig. 478.
the scope of Schenkerian theory-to be explanatory, all the-
'5According to Katz: "Therefore, as both harmonic analysis and the
Schenker method were evolved out of the tonal techniques, it is probable that
ories must have boundaries-neither they, nor any other
Schenkerians, have ever defined these limits in a systematic
a new system of analysis is needed to understand the new concepts" (Chal-
lenge, 293). For a convenient summary of Katz's position see James Baker,
"Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects 17Ibid., 4.
of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55. s8Ibid.
'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum
don: Yale University Press, 1989), 4, 18, 20. 3 (1981): 161.

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130 Music Theory Spectrum

manner.
manner. In
In fact,
fact,both
bothofofthem
them
consistently
consistently
underestimate
underestimate
not not On the other hand, by graphing the Prelude, we can answer
only
only the
the extent
extenttotowhich
whichDebussy's
Debussy'smature
maturemusic
music
contains
contains some of the intriguing formal questions posed by Debussy's
orthodox
orthodox tonal
tonalmaterial,
material,but
butalso
also
the
the
degree
degree
to which
to which
Schen-
Schen- orchestral music. In particular, we will see how he developed
kerian
kerian theory
theorycan
cancope
copewith
withextreme
extreme chromaticism,
chromaticism, modal
modal
or or four techniques-incomplete progressions, parenthetical epi-
exotic
exotic harmonies,
harmonies,free
freedissonances,
dissonances, parallel
parallel
chords
chords
andand
manymany sodes, motivic compression, and tonal modeling-that fea-
other
other anomalies
anomaliesininDebussy's
Debussy'sstyle.20
style.20
OfOfcourse,
course,
thisthis
doesdoes
not not ture prominently in the Nocturnes (1897-99), La Mer (1903-
mean
mean that
that Schenkerian
Schenkeriantheory
theorycan
canexplain
explainevery
every
aspect
aspect
of all
of all 5), and the Images for orchestra (1905-13), and that allowed
works
works by
by Debussy;
Debussy;ititsimply
simplymeans
meansthat
that
thethe
model
model
cancan
helphelp him to move away from nineteenth-century formal models.
us determine,
determine,case
caseby
bycase,
case,how
howand
andwhy
whypartially,
partially,
or even
or even It is hard to imagine a single work that captures the spirit
marginally,
marginally,tonal
tonalpieces
piecessometimes
sometimes
sound
sound
tonal
tonal
andand
some-
some- of Debussy's style more obviously than the Prelude a
times do not. "L'Apres-midi d'un faune"; ever since its premiere at the
To show how Schenkerian theory helps us understand theSociete nationale on 22 December 1894, musicians have tried
tonality of Debussy's music, this paper will examine the Pre-to explain the elusive logic alluded to by Debussy.22 These
lude a "L'Apres-midi d'un faune" (1891-94). The work is an
appropriate test case for several reasons. On the one hand,
spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see
Debussy specifically drew attention to the novel tonal andLesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music,
126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure,
formal properties of the Prelude. In a letter to Henri
ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed.,
Gauthier-Villars (10 October 1896) he observed: Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure,
The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure,
ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69);
haps the dream left over at the bottom of the faun's flute? . . . It
also demonstrates a disdain for the 'constructional knowhow' which and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith,
Debussy on Music, 21).
is a burden upon our finest intellects. Then again, it has no respect
22For analyses of the Prelude see: William Austin, "Toward an Analytical
for tonality! Rather, it's in a mode which is intended to contain all
Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus-
the nuances-I can give you a perfectly logical demonstration of
tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman,
this.21 "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites,"
Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan-
20For further details, see Matthew Brown, "A Rational Reconstruction swered Question (Cambridge: Harvard University Press, 1976), 238-59;
of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989). Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music
21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's
what this demonstration would have looked like because Debussy was ex- "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30;
tremely skeptical about the value of musical analysis. For example, in an essay David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs
for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a
that as children they were forbidden to open the insides of their dolls-a crime Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945),
of high treason against the cause of mystery. . . . And yet they still insist on 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136-
poking their aesthetic noses into things that don't concern them! Without their 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:
dolls to break open, they still try to explain things, dismantle them and quite Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf-
heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James
Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131

analyses
analyses generally
generallyagree
agreeabout
aboutthethe
location
location
of the
of the
work's
work's
mainmain does not appear until m. 13, and is not confirmed by a closed
formal
formal divisions.
divisions.As
Asshown
shown inin
Example
Example 1, the
1, the
piece
piece
is clearly
is clearly progression until mm. 21-26. (2) It is not obvious how mm.
articulated
articulatedatatmm.
mm.30,30,37,
37,
55,55,
79,79,
94,94,
andand
106.106.
TheThefamous
famous 30-54 relate to their surroundings; the whole-tone chords
flute
flute theme
themeisispresented
presentedinin mm.
mm.1-30
1-30
andand
94-106
94-106
on Cf
on in
Cf in (mm. 30-37) are particularly hard to fathom from a tonal
E major
major (mm.
(mm.1-1-3030end
endinin
VVofof
E).E).
Measures
Measures
30-37
30-37
contain
contain perspective. (3) While the B section (mm. 55-78) establishes
whole-tone
whole-tonediminutions
diminutionsofof
the
the
flute
flute
theme,
theme,
andand
mm.mm.
79-93
79-93 a new theme and key area, the precise layout of this passage
present
present sequential
sequentialstatements
statements ononE (mm.
E (mm.
79-85)
79-85)
andand
Eb Eb is far from obvious. (4) It is hard to decide whether mm.
(mm.
(mm. 86-93).
86-93).The
Thecoda
codapresents
presentsa simplified
a simplified
version
version
of the
of the 79-106 are better regarded as two segments (mm. 79-93 and
flute
flute theme,
theme,again
againininE.E.A A
contrasting
contrasting
theme
theme
in the
in the
newnew
key key 94-106) or as a single span. To resolve these dilemmas, let
of
of Db
Db is
is developed
developedininmm.
mm.55-78,
55-78,
while
while
mm.
mm.
37-54
37-54
serve
serve us examine the four sections in depth.
both
both as
as aa transition
transitiontotothe
the
DDb theme
b theme
andand
as aasdevelopment
a development Few passages in the standard repertory are more obscure
of the flute theme. than the opening of the Prelude. At first sight, the sinuous
Debates arise, however, when we try to explain the mo- flute theme and its shimmering accompaniment seem quite
tivic significance and tonal properties of each section.23 Fourremoved from the familiar world of common-practice tonal-
problems stand out: (1) Although mm. 1-30 center on E, the ity. Eventually E emerges as tonic in m. 13, but it is unclear
opening phrases are extremely abstruse tonally; the tonic E how the seventh chords on At, Bb, and D (mm. 4-12) pre-
pare the tonic. Opinions differ widely about the tonal func-
tion of these harmonies. Some, such as Felix Salzer and James
(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge
University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautloseHepokoski, propose that the tonic chord is implied from m.
Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in
Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B. parentheses and treats the opening Ct of the melody as a
Meyer, Style and Music (Philadelphia: University of Pennsylvania Press,neighbor tone to the following B (m. 1). Although Salzer
1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian
marks very few roman numerals (the V-I progression at m.
Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston
and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 13 is a notable exception), he adds two small arrows in mm.
20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur4 and 5. These suggest that the A# and Bb sevenths arise
Wenk, Claude Debussy and the Poets (Berkeley: University of Californiacontrapuntally and link the virtual tonic of m. 1 to the D
Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music,seventh in m. 11. Hepokoski likewise marks a tonic at the
57-61.
23Berman, Dille, and Goubault claim that the Prelude is best treated as opening, and suggests that the opening flute arabesque ex-
a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. pands the apparent "contradiction" between A#07 (VII of V
55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard in E) and B,7 (V7 of D# or V7 of V in Gt). The latter
the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B apparently acts as a German sixth to the D7 in m. 11, pre-
(mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm.
sumably with an elision to its normal resolution (V7 of D).
106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A'
(mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude
Hepokoski then proposes that the bass tones D (m. 11) and
as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 DO (m. 13) are neighbors to the root E (m. 13).
(mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Other writers, however, have been reluctant to make func-
Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10). tional ascriptions of any sort. John Crotty regards mm. 1-13

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132 Music
132Theory Spectrum Music T

ExampleExample
1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions 1. D

_--__ _----_-_ ___ . --___ _____________ _________________-__

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36)

_ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

A' (D
----~ _- -- -- -- of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

Coda ( ,

(mm.,o

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133

as part
part of
of aa double-tonic
double-tonic complex
complexE-C#
E-C#that
thatDebussy
Debussyworked
worked Example 2. Tonal analysis of the Prelude, mm. 1-13
out during
during the
the rest
rest of
of the
thePrelude.
Prelude.William
WilliamAustin
Austinsimply
simply
6 5
shows the bass motion A#-Bb-D-B-E, and notes that al- a

A ii H. k Lt.
though roman numerals could be added to some progres-
sions, "the effort to label every chord seems out of proportion f ""'f 1r o
with any resulting insight."24 Arthur Wenk takes a similar
tack, claiming that the passage reflects Debussy's shift away ? S Nb (
from functional harmony to "static" or "circular" succes-
sions.25 Richard Parks, meanwhile, dispenses with tonal con-
cepts altogether and asserts that the Prelude "opens with a
complement relation: the flute melody's pcs form set 7-1,
while 5-1 is embedded prominently within the sixteenths that b ^
6 5

descend to pc 7."26
Obviously, the differences between these interpretations
are partly matters of emphasis or context, and partly results
of the anomalies inherent to Debussy's score. It is perhaps 00 0
testimony to the work's ambiguity that so many readings have Nb

been advanced. Example 2, however, presents an alternative A.; --- 'I

Schenkerian analysis of mm. 1-13. Here, the passage is in-
VII7 of V V9 I
terpreted as a transformation of the progression VII7 of
V-V9-I in E.27 This progression is given in Example 2a.
Example 2b shows how the dominant is arpeggiated in the
bass through its mixed third, D, and how the Ct in the upper
voice in m. 4 is suspended over the D and B to form seventh
A1 ^
and ninth chords in mm. 11-13. The resulting progression
VII7-V9 is very similar to those described by Schenker in
? ? Nb ?

24Austin, "Toward an Analytical Appreciation," 84-85.

25Wenk, Debussy and Twentieth-Century Music, 56-61. VII7 ofV V9 I
26Parks, Music of Debussy, 156-57.
d 6--- 5
27It might seem that this sonority might be more conveniently labeled
lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian
Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting
of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes
that #IV Stufen cannot be generated directly from I in tonal contexts; instead, 00 0 113 0)()
they can only be derived indirectly either from transformations of other Stufen
(for example, III of III, IV of II, VII of V, etc.), or from interpolations. D5

' -I T
VII
7of9$-8
V V I

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134 Music Theory Spectrum

Der
Der freie
freieSatz.28
Satz.28 Example
Example 2c then
2c then
showsshows
how thehowinitial initial VII7 ogous
theVII7 ogous chains
chains ofof parallel
parallelthirds.
thirds.Fourth,
Fourth,Debussy
Debussyveils
veils
our
our
of
of VVininm.
m.4 4is is
joined
joined
to the
to the
VII chord
VII chord
in m. 11
in by
m. a11 by a passing sense
passing sense of
of tonality
tonality by
by manipulating
manipulatingthe theway
wayininwhich
which melodic
melodic
Bb
Bb 7.
7.The
Thelatter
latter chord
chord
arises
arises
contrapuntally;
contrapuntally;
the altothe
andalto and tenor phrases
tenor phrases intersect
intersect with
withtheir
theirharmonic
harmonicfoundation.
foundation.TheThepro-
pro-
parts
partsFFcomplete
complete a chain
a chain
of parallel
of parallel
thirdsthirds
extending from E from E gression
extending gression VII7
VII7 of
of V-V9-I
V-V9-I(mm.
(mm.1-13)
1-13)actually
actuallycuts
cutsacross
across
two
two
(m.
(m. 4)4)totoE E(m.
(m.
13).13).
ThisThis
chain
chain
is perhaps
is perhaps
more obvious
more obvious
in indistinct statements of the flute theme in mm. 1-10 and 11-20.
Debussy's
Debussy'sdraft
draftandand
two-piano
two-piano
reduction
reduction
than inthan in the finished Having discussed the opening of the Prelude, let us now
the finished
score.
score.Finally,
Finally,Example
Example
2d adds
2d adds
the overall
the overall
motion--C
motion--C
- - turn to mm. 30-54. Jean Barraque has rightly observed that
B-AO
B-AO-of-ofthe
the
opening
opening
tune,
tune,
alongalong
with with
the expansion of the of the this segment functions as some sort of development. He sug-
the expansion
dominant Dt-B in m. 13. gests that it can be divided into three discrete phases: mm.
Example 2 clarifies several important issues. First, the 30-37 offer a "double presentation of the principal theme
graphs suggest that the tonal function of the opening four bars harmonized by chords from the whole-tone scale"; mm.
is indeterminant; although the pitch Ct is clearly emphasized, 37-50 introduce "the second theme . . . in the oboe" and
its role is obscure. In fact, the G (mm. 1-2) implies that the modulate towards the key of the middle section; and
harmonies probably change in these bars; such a change al- 50-54 sustain "a pedal on the dominant of Dk."30 When
ways occurs when the theme is harmonized, even when it look more closely at the wider tonal and motivic contex
raised to GO (mm. 100-101). To complicate matters further, the passage, several other details seem significant. Fo
the goal of the opening phrase seems to be A# rather than ample, although the oboe theme does not appear before
B. In m. 3, B seems to pass between C# and At, and only 37, this gesture is derived from the pentatonic motive
in later statements do CK and AO serve as neighbors to B. 28 (see Exx. 3a and 3b).31 Indeed, the links between
Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be section and its predecessor are reinforced by the fact tha
derived by orthodox tonal transformations. Indeed, the oboe theme appears with fragments of the main flute t
rather striking progression bVII-V is actually quite common in mm. 46-47 (see Ex. 5b). More remarkably, as Cha
in Debussy's early compositions, and even controls the mid- Burkhart has demonstrated, mm. 37-55 form a single sp
dleground of entire works such as the song "C'est l'extase" with a stepwise descent in the bass, from B (V of E) via
(Ariettes oubliees, 1887).29 Third, the chromatic inner lines and A to Ab (V of Db,), and with a series of nested repet
found in Example 2c recur later in the Prelude. As we will of the chromatic figure B(C,)-C-Ct1(Db) in the upper pa
see, both mm. 20-30 and 79-106 are bound together by anal- (see Ex. 3c).32 Significantly, this chromatic figure is em
ded within the main flute theme (see Ex. 3d). Burkh
28Schenker discussed VII-V progressions in various places in Der freie
Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with 30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-6
V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- 31For elaborate accounts of the complex motivic connections see Aus
lated by Ernst Oster under the title Free Composition (New York, Longman, "Toward an Analytical Appreciation," especially pp. 76-78. Peter Gil
1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- stressed the significance of pentatonic figures both to the opening flute
ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), an
1-33. Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and
29For a different analysis of this song, see Wallace Berry, Musical Structure 32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Sche
and Performance (New Haven: Yale University Press, 1989), 144-216. 'Motivic Parallelisms,' " 156.

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

b I

@ 1 1 1 A '~~~

3 3 3

Af i - k I -- I 1, I ,, I I i ,, I
I]I

... "t R ,. _ S' _ , h. ,_ . b, b'4 *.Ul I ~! d , ....... I I1 , I

000000 0 0

,:%. 11--N a__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

9-8 9-8 6-5 9-8 '1 -

V 4-3 V

d 0 O
V I L_ 1 N IB- BI -
B- B#-Co

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136 Music Theory Spectrum

reading
readingnot
notonly
only
connects
connects
mm. 37-54
mm. to37-54
mm. to
1-30,
mm.but 1-30, Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-3
it also but it also
shows
showshowhowthethe
transition
transition
functions
functions
as one, rather
as one,than
rather
two, than two,
separate
separatespans.
spans. 5 6 5

While
Whilemm.
mm.37-54
37-54
are are
certainly
certainly
unusual,
unusual,
they arethey
a goodare a good AiM I
deal
dealmore
moreorthodox
orthodox
thanthan
mm. 30-37;
mm. 30-37;
BurkhartBurkhart
is surely cor-
is surely cor-
rect to state that the latter contains "the work's most radical
departure from traditional procedure."33 His analysis shows
how the passage is built from the two whole-tone sets-
?@ (3t 9 b ? ?4 ?
C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be
wrong, however, to conclude that this passage cannot be de- '0-
rived from tonal transformations. On the contrary, Example (Vb5
(Vb5 of of V)V) 9-8
9-8
vL V7 (I)
4 shows that mm. 30-37 arise contrapuntally, from complex
passing motions in the inner voices. The upper line is created
by a motion from the inner voice: the Ft in the alto part (m.
the
the basic
basic
tenets tenets
of Schenkerian
of Schenkerian
theory. As becomes theory.
clear near As becomes clear n
30) ascends by step through G, A, B , and C to Cf (m. 37).
the
the beginning
beginning of volumeof 1 ofvolume
Kontrapunkt,1 ofSchenker
Kontrapunkt,
believed Schenker beli
The inner parts mostly ascend by step: the viola part moves
that
that whenwhen
composerscomposers
use exotic scales
usein tonal
exoticcontexts,
scales
they in tonal contexts, th
up from B through Cl (m. 31-33) to D and E (mm. 34-36);
do
doso so
"not"not
to loosen to[the]
loosen
system [the]
in order system
to incorporateina order to incorporate
the second violin part moves up from F through G (mm.
foreign
foreign one, but,
one, on the
but,contrary,
on the to usecontrary,
[the] major-minor to use [the] major-mi
31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon
system
system to express
to express
the foreign the
element."35
foreignBesides element."35
providing Besides provid
parts move up from Ct through D and Dft (mm. 31-33) to
aatonal
tonalderivation
derivation
for mm. 30-37,
forExample
mm.4 30-37,
also impliesExample
that 4 also implies t
E, F, and F# (mm. 34-36). The bass part simply shifts from
this
this passage
passage
does notdoesadvancenot
the tonal
advance
flow of the
the Prelude;
tonal flow of the Prelu
G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The
rather,
rather, it actsitas acts
an asideasor an
parenthesis
asidethator delays
parenthesis
the mod- that delays the m
final sonority at the end of m. 36 (F#-A#-Et-C~) functions
ulation
ulation to Db.to Schenker
Db. Schenker
described such "delays"
described very beau-
such "delays" very beau
as an altered secondary dominant (V 7 of V), that resolves
tifully
tifully in Derinfreie
Der Satz:freie Satz:
to V9 of E.
The notion that whole-tone harmonies stem from altered In
Inthethe
art ofart
music,
ofasmusic,
in life, motion
as intoward
life,
the motion
goal encounters
toward the goal encoun
dominants is, of course, one that has been advanced by many obstacles,
obstacles, reverses,
reverses,
disappointments,
disappointments,
and involves great distances,
and involves great dista
detours,
detours, expansions,
expansions,
interpolations,
interpolations,
and, in short, retardations
and, of all
in short, retardations o
writers, from Schoenberg to Tovey.34 It is also consistent with
kinds.
kinds. Therein
Therein
lies the source
lies ofthe
all artistic
source delaying,
of all
fromartistic
which the delaying, from which
creative mind can derive content that is ever new.36

33Ibid., 157.
34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi- 35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910)
enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the
translated by John Rothgeb and Jurgen Thym under the title Counterp
(New York: Schirmer, 1987), 28.
title Theory of Harmony (Berkeley; University of California Press, 1978),
390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. a
of Music (Cleveland: World Publishing Co., 1965), 69. trans., 5.

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137

In
In the
thecase
case
of of
thethe
Prelude,
Prelude,
this brief
this delay
briefhelps
delay
to evoke
helps to evoke
Let
Let us
us purify
purifymusic!
music!LetLet
us us
trytry
to relieve
to relieve
it ofititsofcongestion,
its congestion,
to findto f
a less cluttered kind of music. And let us be careful that we do not
the
themysterious,
mysterious, dreamlike
dreamlike
atmosphere
atmosphere
that permeates
that permeates
Mal- Mal-
larme's
larme'seclogue.
eclogue. stifle all feeling underneath a mass of superimposed designs and
So
So far,
far,wewe
have
have
seenseen
that that
the Prelude
the Prelude
is built from twofrom two motives: how can we hope to preserve our finesse, our spirit, if we
is built
insist on being preoccupied with so many details of composition? We
main
mainmotives-the
motives-theopening
opening
flute flute
arabesque
arabesque
plus its deriva-
plus its deriva-
are attempting the impossible when we try to organize a braying pack
tives, and the Db theme. Austin, however, identifies two
of tiny themes, all pushing and jostling each other for a bite out of
other gestures, to which he refers as the syncopated and flow- poor old sentiment.38
ing motives.37 Since these ideas play a vital role in the sub-
sequent unfolding of the piece and help to clarify the formal Second, in Debussy's music, motives that initially seem in
function of the B section, it is worth examining them closely. nocuous may end up playing a vital role later. Since this
Example 5 traces the life history of both ideas. Although process cuts across the main formal divisions of the Prelude,
the origins of the syncopated motive can be traced back to it helps to erode the boundaries and autonomy of each sec-
the horn parts in mm. 5 and 13, this gesture first becomes tion. Third, Debussy's music is often extremely complex poly-
prominent in m. 39 (Ex. 5a). Almost immediately, it is com- phonically, especially at critical moments in the form. In the
bined with the opening flute motive (Ex. 5b). The flowing Prelude, the densest textures occur at the climax (beginning
motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- in m. 94). This point is doubly ironic because Debussy is often
comes the progenitor of the oboe theme at m. 37. In the Db portrayed as the archenemy of polyphony, and because
section, the flowing and syncopated motives are both ab- Schenker traced the downfall of music in the twentieth cen-

sorbed into the B theme: the former appears as a continuation tury to a "decline of counterpoint."39
of the B theme in mm. 61-62 (Ex. 5d); the latter appears with Before leaving the B section, we must briefly consider its
the flowing motive beginning in m. 67 (Ex. 5e). The short harmonic structure. We have already seen how the thematic
codetta (mm. 74-78) then combines the syncopated motive
in counterpoint with the B theme and flowing motive (Ex. 5f).
38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu-
This example of presenting themes simultaneously or in close sic, 297.
succession-what we might term "motivic compression"- 39For published discussions of Debussy's contrapuntal practices, see Peter
sets up the climax of the Prdlude in mm. 94-99, where the DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym-
syncopated and flowing motives both return in counterpoint posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century,
(New York: Norton, 1966), especially p. 20. Debussy himself discussed the
with the main flute theme (Ex. 5g).
significance of counterpoint in his music; see Lesure and Smith, Debussy on
Example 5 highlights three essential features of thematic Music, 84, 94, and 278. Schenker, of course, made frequent attacks on
working in Debussy's music. First, it often includes very in- twentieth-century music, such as the following in Derfreie Satz: "The present
tricate motivic relationships. This fact apparently contradicts decline of counterpoint has brought about the decline of diatony. This is the
Debussy's frequent claims to simplifying symphonic compo- fault of the musicians, who still have not grasped the fact that as long as the
fifth determines the natural sonority-and that will always be so-a voice-
sition. For example, in an essay for SIM (1 November 1913)
leading technique based on the fifth, as nature requires, cannot lead to any
he declared:
diatony other than the diatony which our art has exhibited up to the present
day. All attempts to deprive nature of her rights will shatter against the wall
37Austin, "Toward an Analytical Appreciation," 75-78. of her resistance" (Oster, ed. and trans., par. 4, p. 11).

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138138
Music Theory Music
Spectrum Theory Spectrum

Example
Example
5. Motivic compression in the
5. PreludeMotivic compression in t

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

Flute theme

b
b 3 ,
- III
,
c -j n0"g ig ?- f\
gem n -' -J | ?[ I I

-? 3 3 1
Flowing motive
Syncopated motive
B theme Flowing
Flowing
motive mo
0 I > _ I @ -

blbF r
d

B theme
Flowing motive
Flow
?IQ ) __ I Syncopated motive
- (6 A 7)I I, I

t, r Ii' r l I I ' r
B theme

A I L 3 3 I
f
-\ 'i ro rm rr _:^Trr rr r, , I F.
I r # F Us II II
Syncopated motive Flowing motive Flowing motive
Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

g
)11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_
.r r r7--
Syncopated motive

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139

Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78

6 6

1 1 I hbJ,l.J 1 i
A . j J
iJ J : b J J ' b-bbb I. / i ~ - 'b;

6*^k
t) b bbb -6b-
, 4~
b - <
P "bL
IV I1 V
IV 1Iof VII
I IVb3 bVI aug. 6 I
of Vl
of VI

content changes between the first and the second statements second statement (see Ex. 6a). These measures present a
of the Db theme. Example 6 shows that this change coincides diatonic descent through the D octave in the upper part that
with a remarkable shift in the theme's harmonic support. To is supported by the simple progression I-IV-II-V-I. The
understand this transformation it is best to begin with the first statement, however, is more complex (see Ex. 6b). Here,

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140 Music Theory Spectrum

the
the octave
octavedescent
descentis is
transformed
transformed
chromatically:
chromatically:
Db-Cb,-
Db-Cb,-
less
less do
do they
they initiate
initiatethe
thefinal
finalsection
section
ofofa piece.
a piece.
How,
How,
then,
th
Bb
Bb -Ab-Gb-Fb
-Ab-Gb-Fb-Elb-C-Db.
-Elb-C-Db.Notice
Notice
howhow
the augmented-
the augmented- can
can we
we explain
explaintheir
theirpresence
presenceininm.m. 94?
94?
sixth
sixth chord
chordresolves
resolves
traditionally:
traditionally:
D moves
D moves
downdown
by step
byinstep in Example
Example 7a 7a suggests
suggeststhat
thatthese
thesedissonances
dissonances
arise
arise
from
from con-
c
the
the bass,
bass,while
whilethe
the
tritone
tritone
Ft-C
Ft-C
in the
in upper
the upper
voice voice
resolves
resolves trapuntal
trapuntal lines
linesthat
thatstart
startininm.
m.79.
79.The
The
inner
inner
parts
parts
F, F,
in in
m
inwards
inwardsto toF FandandDbDb (horns
(horns2 and2 and
4, violin
4, violin
2). As2).
shown
As shown
in in
94 are
are part
part ofof aalong
longchain
chainofofchromatic
chromatic parallel
parallelthirds
thirds
that
t
Example
Example6c,6c,thethesupporting
supporting progression,
progression,
with with
its mixed
its mixed
sub- sub-passes
passes from
from G# G#(m.(m.79)
79)via
viaEC
EC(m.(m.83),
83),
GG (m.(m.
86),
86),
andand
D (m.
D (
dominant,
dominant,flat flatsubmediant,
submediant, andand
augmented-sixth
augmented-sixth sonorities,
sonorities,90)
90) to
to FF (m.
(m. 94).
94).This
Thisline
linethen
thendescends
descends totoE (m.
E (m.
96)96)
before
befo
foreshadows
foreshadowsthe thechromatic
chromatic excursions
excursions
foundfound
in Debussy's
in Debussy'sshifting
shifting direction
directiontotojoin
jointhe
theupper
upper line
linein in
m.m.104.
104.
TheThe
so-s
later
later works,
works,such suchas as
thethe piece
piece
"Reflets
"Reflets
dans dans
l'eau"l'eau"
(Images,(Images,
prano
prano C# C# inin m.
m.94,
94,meanwhile,
meanwhile,arises arises
as as
ananexpansion
expansion of of
th
Book
Book I,I,1904-5).
1904-5). Here
Here thetheupper
upperline line
moves
moves
fromfrom I via I via
chromatic
chromatic motive
motiveB-BB-B-C -Cthat
thatisisprojected
projected from
from m.m. 79.79.
TheT
,I
,I and
and tt3i3itotov v
and
and }. }. CO,
CO, which
which is is even
evenlocally
locallytonicized
tonicized beginning
beginning in in
m.m.96,96,
even
e
We now come to the final sections of the Prelude. As tually
tually slides
slides down
downthrough
throughCt
Ctand
and
BbBb
toto
meet
meet
the
the
inner
inner
third
th
at m. 104.
mentioned earlier, experts disagree about the formal function
of mm. 79-106. Some, such as Barraque and Howat, argue Besides demonstrating the overall integrity of mm. 79
that these measures are built from two distinct spans: mm.106, Example 7b also indicates that the final section is built
from the same tonal transformations as mm. 20-30. In mm.
79-93 develop the flute theme sequentially on E and Eb; mm.
94-106 restore the main theme to Ct for the start of the final
20-30, the upper line also expands the motive B-Bt-C#
section proper.40 Conversely, Denis Dille, Laurence Berman,
while the inner parts contain a chain of chromatic thirds ex-
and others suggest that these bars constitute a single tending
span from G (m. 20) via B (m. 22), A (m. 23), Gd (m
analogous to that of the opening A section.41 25), G (m. 25) to F (m. 26). As with mm. 79-106, these
Which reading should we prefer? Certainly, there are good
thirds finally shift up to meet the upper line for the cadence
reasons for dividing mm. 79-106 into two spans. Although As Leonard B. Meyer has noted, the cadences in mm. 29-30
and 103-6 are connected motivically; both contain the same
the flute theme is transposed to E in m. 79, it is not restored
to the original starting pitch CO until m. 94. Furthermore,motives,
the marked x and y in Example 7c.42 The significance
scherzando character of the flute theme (mm. 79-93) recallsof this reading is twofold. It suggests that the final A' section
the whole-tone variations (mm. 30-37). Tonally, however, is not a simple repetition of the opening section, but is an
this reading is less convincing. No one would deny that theingenious composing-out of a small segment, mm. 20-30
tonic 6 returns in m. 79, but when the bass tone E returns Furthermore, since this passage conflates the main flut
at m. 94, it no longer supports a simple tonic triad. Instead,theme with the syncopated and flowing motives and inflect
we find an E13 identical to the one in m. 26. Dissonances of CO as a local tonic, it provides a subtle reminiscence of the
this sort do not normally appear at the start of a span; stillB section. This allusion to the B section unifies the Prelude
and demonstrates the complex, long-range connections th
invariably bind Debussy's music together. Tonally, then, m
40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,
Debussy in Proportion, 149.
41Dille's view is summarized by Austin in "Toward an Analytical Ap-
preciation," 74; Berman, "Debussy's Summer Rites," 231. 42Meyer, Style and Music, 223-25.

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 1
Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141

Example 7. Tonal models in the Prelude 79-106

79-106constitute a single
constitute
unit, bound together by an a
ela
orate
oratecontrapuntal contrapunta
framework; they do not subdivide
4 3 2 1 veniently
venientlyinto two separate tonal
into
spans. two
ToTo
sum up:sum
When analyzed up:from a Schenkerian
When pers
A. I I F I I I Nb k I I I tive,
tive,
Debussy's Prelude
Debussy's
a "L'Apres-midi d'un faune"
Pr is
regarded
regardedas a continuous ternary
as form-A
a conti
(mm. 1-30), tr
sition
sition
(mm. 37-54), B(mm.
(mm. 55-78), A' 37-54
(mm. 79-106),
coda
coda
(mm. 106-10).
(mm.However, this 106-10).
scheme is obscured in
ways:
ways:by starting with
by an incomplete
starting progression VI
V-V9-I;
V-V9-I;by adding a parenthetical
by whole-tone
adding episode
I A L .-.--\

30-36);
30-36);by developing theby syncopated
develop
and triplet fig
6I~ -' V6 -- V-6 !2 V- 3 across
across
the formal boundaries;
theandformal by modeling the final b
section
section(mm. 79-106) on (mm.
part of the opening79-1
section (
20-30).
20-30).
Although these Although
features are unusual in themse t
especially
especially
when judged against the
whenstandards of nineteen
jud
century
century tonal theory, theytonal
do not represent theo
a complete
pudiation
pudiation of tonal paradigms. What
of is sotonal
remarkable
----- IE ,V,1
the
the
Prelude isPrelude
-
that Debussy managed isto combine
that these t
niques
niquesso boldly over such
soa largeboldly
span. Perhaps weo sh
_ __3 3 3 I
view
viewthe rather elaborate
theexplanations
rather presented abo
e
signs
signsof Debussy's ofcultural elitism
Debussy'and his love of t
4, - ~ - d- ;ttIa- esoteric-concerns that he described in a famous letter to
Ernest Chausson (3 September 1893):
Music really ought to have been a hermetical science, enshrin
texts so hard and laborious to decipher as to discourage the he
,c xt YI,... 1 people who treat it as casually as they do a handkerchief!
further and, instead of spreading music among the populace,
pose the foundation of a "Society of Musical Esotericism."43

1? H.2 I<h I2 I 43"Vraiment la musique aurait dfi tre une science herm6tique, gard6
des textes d'une interpretation tellement longue et difficile qu'elle aura
tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvol
que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au
de chercher a repandre Fart dans le public, je propose la fondation d
' 1 u 3 u 3 3 3
"Societe d'Esotericisme Musical" et vous verrez que M. Helman n'e
x

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142 Music Theory Spectrum

As it
it happens,
happens,this
thisletter
letterdates
datesfrom
from the
the
time
time
when
when Debussy Prelude Debussy
Debussy Debussy actually
actually inserted
inserted the
the main
main theme
themefrom
from"Le"Le
was
was finishing
finishingwork
workon onthe
thePrelude.
Prelude. matin d'un jour
jour de
de fete"!
fete"! On
On aa larger
larger scale,
scale, the
the entire
entirefanfare
fanfare
Although
Although it it isisbeyond
beyondthe thescope
scopeofof
this
this
essay
essayto to
trace
trace section from
from the
the middle
middle ofof "Fetes"
"Fetes" (Nocturnes,
(Nocturnes, second
secondmove-
move-
Debussy's
Debussy's use
use of
ofthethefour
fourtechniques
techniques enumerated
enumerated above
above in all ment) is a giant
in all giant interpolation:
interpolation: mm. mm. 116-73
116-73 areare actually
actuallyin-
in-
his
his subsequent
subsequentorchestral
orchestralworks,
works, a few
a fewexamples
examples
areare in order. serted within
in order. within anan ascending
ascending line
line that
that spans
spans from
from m.m.2727to
tom.
m.
To begin
begin with,
with,of ofDebussy's
Debussy'sremaining
remaining eleven
eleven orchestral 208. As in Iberia, the insert recalls material from another
orchestral
movements,
movements, all allbut
butone-"Par
one-"Parles
lesrues
rues
et et
lesles
chemins"
chemins" (Ibe-
(Ibe- work by Debussy: at the climax of the fanfare section, we
ria,
ria, first
first movement)-begin
movement)-beginwith with some
somesort
sortof of
incomplete
incomplete hear Rodrigue's leitmotiv from Debussy's aborted "Wagne-
progression.
progression. For
Forthe
themost
mostpart,
part,these
theseworks
works open
openwith
with
in- in- rian" opera Rodrigue et Chimene (1890-92).45
troductions that move to the tonic for the start of the main Several interesting instances of motivic compression also
movement proper. However, "Les parfums de la nuit" and occur in La Mer and the orchestral Images. A particularly fine
"Le matin d'un jour de fete" (Iberia, second and third move- example appears at the climax of "Jeux de vagues" (La Mer,
ments) are more complex. The former is a classic example second movement).46 In mm. 163-218, the main theme re-
of an auxiliary-cadence piece: the bulk of the movement turns and is combined contrapuntally with other subordinate
prolongs the dominant of Ft with the tonic finally occurring themes as well as with its own diminutions and augmenta-
near the end (m. 92).44 The latter, meanwhile, not only be- tions. The same phenomenon can be seen in "Rondes de
gins away from the tonic, but it actually ends somewhereprintemps" (Images). In two long sections (mm. 87-118 and
else: the movement starts in Eb, moves to C, and closes in 138-205), Debussy develops the folk tune "Nous n'irons plus
G with material from the middle section of "Par les rues et au bois" contrapuntally with itself, and with other themes,
les chemins." including another folk tune "Do, do l'enfant do."
We can also find parenthetical episodes and interpolations Lastly, Debussy relied on tonal modeling in several later
in Debussy's later orchestral scores. Perhaps the most ob-symphonic scores. In "Nuages" (Nocturnes, first movement),
vious examples occur in the transition between the finalhe modeled the final section (mm. 80-93) on the last segment
movements of Iberia. Here Debussy added a subordinateof the opening A section (mm. 43-56). In recomposing the
theme from "Le matin d'un jour de fete" near the end of "Lesearlier material, he inserted two repetitions of a horn motive
parfums de la nuit" (mm. 127-28), and he inserted a flash-from mm. 23-24 and 27-28. More remarkably, the second
back to one of the main themes in the second movement near half of "De l'aube a midi sur la mer" (La Mer, first move-
the beginning of the third (mm. 5-6). Significantly, the latter ment), is an elaborate composing out of the contrapuntal
"interruption" has connections with Debussy's piano Prelude framework of mm. 31-84: both move from Db via BI to Ab
"La s6ernade interrompue": in mm. 80-84 and 87-89 of the and back, via Gb to Ab. Similar experiments in tonal mod-

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and 45Compare the chromatic motive and Tristan chords (mm. 170-73) of
Nichols, eds., Letters, 52. This letter is normally connected with Debussy's "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in
interest in the occult. Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31.
44For more details of this and the following analytical observations, see 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm
my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press). Finck Verlag, 1976).

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 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143

eling
elingcancanalso
also
be found
be found
in "Par
in les
"Parruesles
et rues
les chemins";
et les chemins";
here, gives
givesmeaning,
here, meaning, andand
movement,
movement,
to thisto
relationship.
this relationship.
As a langu
the
thefinal
finalAA section
section
and the
andcoda
thearecodabuilt
arefrom
built
roughly
fromthe it
it can
roughly the canbest
bestbe be
described
described
as "expanded
as "expanded
tonality",
tonality",
a language
a in
lang
w
same
samesetsetofoftonal
tonal
transformations
transformations
as the middleground
as the middleground
of the tonality
tonalitystill
of the still
actsacts
as aas
basic
a basic
term,term,
giving giving
perspective
perspectiv
to all o
entire movement. harmonic
harmonic activity.47
activity.47

To what extent, then, did Debussy manage to move away Even

EvenififDebussy
Debussywaswas
unable
unable
to ignore
to ignore
common-practice
common
from nineteenth-century tonal and formal conventions? From nality
nalityaltogether,
altogether,
he did
he create
did create
a remarkable
a remarkable
body of sym
bod
the preceding discussion, it seems that Debussy's path away phonic
phonicmusic
music
that
that
was was
indeed
indeed
fit for
fit
"the
forcentury
"the centur
of aer
from traditional composition was gradual. Indeed, most of planes."
the techniques used in the Prelude have clear precedents in
nineteenth-century tonal practice, at least as explained by ABSTRACT

Schenkerian theory. This suggests that Debussy was not the Debussy is often credited with revolutionizing musica
iconoclast that Boulez and others believe. His genius was jecting nineteenth-century tonal and formal practice. T
perhaps not so much in creating entirely new principles of siders this claim by examining the tonal and thematic
harmony and form, but rather in exploiting established tech- the Prelude a "L'Apres-midi d'un faune." Although
niques in bold and unusual ways. In many ways, this essay shows that the Prelude can be explained by tradition
confirms the conclusions of Arnold Whittall: cedures, it identifies four techniques-incomplete prog
enthetical episodes, motivic compression, and tona
Debussy, at his best, was always a dramatic composer. What allowed
is Debussy to move away from conventional sym
dramatized, what brings tension and dynamism to the music, is els.
the The paper ends by showing how he developed th
skilfully balanced relationship between chromaticism and diatoni-
in later orchestral works such as the Nocturnes, La Me
cism, both of which may show modal characteristics but which never
lose sight of the triadic constructions and progressions of earlier tonal47Arnold Whittall, "Tonality and the Whole-Tone Scale in
music. Debussy's harmony functions precisely in the sense thatDebussy,"it The Music Review 36 (1975): 271.

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