Notes on Debussys 1ere Arabesque WIP.pdf
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Oct 17, 2024
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About This Presentation
Analysis of Debussy's 1ere Arabesque
Slide Content
Notes on
Debussy’s Première Arabesque
L. 74 (66)
by
A Saturday Debussyist
This is a work in progress
Updated October 17, 2024
Claude Debussy, Harmonic analysis, Modes, Modal Harmony,
Debussy’s Première Arabesque
L. 74 (66)
by
A Saturday Debussyist
This is a work in progress
Updated October 17, 2024
Claude Debussy, Harmonic analysis, Modes, Modal Harmony,
2
Introduction
The contents of this presentation are notes and extracts I have made to aid my understanding.
The score used in this analysis is the 1904 Durand edition.
1
Introduction
The contents of this presentation are notes and extracts I have made to aid my understanding.
The score used in this analysis is the 1904 Durand edition.
1
3
The Harmonic Schema of Debussy’s Première Arabesque
Debussy notated this piece with two key signatures – measures 1-38 and measures 71-107 are
written with a key signature of four sharps. The central section of the piece – measures 39-70 are
written with a key signature of three sharps.
Section I
It is possible to analyze the first section (mm1-38 delineated by a double bar at the end of mm 38) in
the key of E Major. My Roman Numeral analysis is a movement from tonic on the fourth beat of mm
2 to a prolongation of the dominant from the first beat of mm 21 to measure 30 followed by a return
to the tonic from mm 30-38. The first seven beats of the section could be described as an
“introduction”. The progression in mm 30-38 is a basic harmonic progression in E Major beginning in
the middle of a phrase.
The piece begins in beats 1 and 2 of mm 1 on an inverted f♯ minor major seventh chord which is
“horizontalized” in the top register over measures 1-5. The f♯ seventh chord is the most frequent
chord in mm1-16. The emphasis on f♯ minor suggests a “tonic” of F♯ not E. The Dorian mode on F♯
can be written with a key signature of four sharps. The Dorian mode is the natural minor scale
(Aeolian mode) with a raised sixth step. This different step is found in the Dorian supertonic,
subdominant and submediant triads. Using these triads (primary triads) in harmonic progressions
will establish the Dorian mode.
2
The triads on the steps of the Dorian mode explain the harmonic progressions in this section better
than a tonal analysis in E Major.
The harmonic progression in mm1-16 is a basic harmonic progression in F♯ Dorian:
mm 1-7 prolongation of tonic f♯
mm 8-12 prolongation of dominant (c♯). The dominant chord is horizontalized.
mm 12-16 return to tonic with modal interchange to F♯ Mixolydian due to the introduction
of A♯ in mm 13-16 (admittedly an awkward explanation)
mm 17-38 moves through the F♯ Dorian, Aeolian, Phrygian modes – minor modes on the same initial
and modulates to A Lydian at mm 34. The cadence in mm 36-38 is an authentic cadence in E Major
and a half cadence in A Lydian - a signature ending by Debussy.
The Harmonic Schema of Debussy’s Première Arabesque
Debussy notated this piece with two key signatures – measures 1-38 and measures 71-107 are
written with a key signature of four sharps. The central section of the piece – measures 39-70 are
written with a key signature of three sharps.
Section I
It is possible to analyze the first section (mm1-38 delineated by a double bar at the end of mm 38) in
the key of E Major. My Roman Numeral analysis is a movement from tonic on the fourth beat of mm
2 to a prolongation of the dominant from the first beat of mm 21 to measure 30 followed by a return
to the tonic from mm 30-38. The first seven beats of the section could be described as an
“introduction”. The progression in mm 30-38 is a basic harmonic progression in E Major beginning in
the middle of a phrase.
The piece begins in beats 1 and 2 of mm 1 on an inverted f♯ minor major seventh chord which is
“horizontalized” in the top register over measures 1-5. The f♯ seventh chord is the most frequent
chord in mm1-16. The emphasis on f♯ minor suggests a “tonic” of F♯ not E. The Dorian mode on F♯
can be written with a key signature of four sharps. The Dorian mode is the natural minor scale
(Aeolian mode) with a raised sixth step. This different step is found in the Dorian supertonic,
subdominant and submediant triads. Using these triads (primary triads) in harmonic progressions
will establish the Dorian mode.
2
The triads on the steps of the Dorian mode explain the harmonic progressions in this section better
than a tonal analysis in E Major.
The harmonic progression in mm1-16 is a basic harmonic progression in F♯ Dorian:
mm 1-7 prolongation of tonic f♯
mm 8-12 prolongation of dominant (c♯). The dominant chord is horizontalized.
mm 12-16 return to tonic with modal interchange to F♯ Mixolydian due to the introduction
of A♯ in mm 13-16 (admittedly an awkward explanation)
mm 17-38 moves through the F♯ Dorian, Aeolian, Phrygian modes – minor modes on the same initial
and modulates to A Lydian at mm 34. The cadence in mm 36-38 is an authentic cadence in E Major
and a half cadence in A Lydian - a signature ending by Debussy.
3
Harmonic Modes
F♯AC♯EG♯BD♯D♯F♯AC♯ EG♯BF♯AC♯ D♯F♯AC♯F♯AC♯E F♯[A]C♯EG♯BC♯EG♯[B]D♯
E Major:IV
6
iii
6
ii
6
I
6
ii vi
9
i
7
ii
6
vi
7
VIIF♯ Dorian: ii
11
v
9
F♯AC♯E
1 10
G♯BD♯F♯AC♯
P P
BD♯F♯AC♯EC♯EG♯B[D]F♯D♯F♯AC♯EG♯
V
11
vii
11
ii
11
v
11
IV
11
vi
11
A♯C♯EG♯ F♯A♯C♯EG♯
♯iv
7
*
F♯ Mixolydian:iii
ø
I
9
ii
9
.
Tonic TonicDominantPre-Dominant
17
D♯F♯♯A♯C♯E
C♯EG♯B
BD♯F♯AF♯AC♯E
G♯B♯D♯F♯
B♮D♮F♯AC♯
EG♯BD♮
vi
7E Major: VII
9
* V
7
ii
7
I
7
III
7
* v
9
*
F♯ Dorian: VI
9
**v
7
IV
7
i
7
II
7
** iv
9
VII
7
F♯ Aeolian:
i
7
ii
6
vi
7
VII
i
7
A♮C♯EG♯
IV
7
III
7
AC♯EG♮B
IV
9
III
9
F♯ Phrygian:
F♯AC♯EG♯ F
♯
AC
♯
E
EG
♯
BD
♯
AC
♯
E
BD♮F♯AC♯
EG♯BD♯
v
9
*
ii
9
I
7
I
7
IV
F♯ Dorian:
VII
7
i
9
iv
9
BD♯F♯AC♯E
V
9
IV
9
E Major:
F♯ Dorian:
EG♯B
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
D
♯
F
♯
AC
♯
E
EG
♯
BD
♯
D
♯
F
♯
AC
♯
C
♯
EG
♯
B[D
♯
]F
♯
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
F
♯
AC
♯
E
AC
♯
E
A Lydian:I I
7
II
7
V
IV
V
7
I
30
*= altered chord in Major/minor scale; **=altered chord in mode; Underlined chord symbol=Primary chord
▪mm 1-16 basic harmonic progression in F♯
Dorian (i/I interchange in mm 16)
▪mm 17-29 move through the “minor” modes
by modal interchange
▪mm 30-38 basic harmonic progression in E
Major ending with authentic cadence on tonic
OR
▪Modal interchange to “major” mode with half
cadence on dominant
Harmonic Modes
F♯AC♯EG♯BD♯D♯F♯AC♯ EG♯BF♯AC♯ D♯F♯AC♯F♯AC♯E F♯[A]C♯EG♯BC♯EG♯[B]D♯
E Major:IV
6
iii
6
ii
6
I
6
ii vi
9
i
7
ii
6
vi
7
VIIF♯ Dorian: ii
11
v
9
F♯AC♯E
1 10
G♯BD♯F♯AC♯
P P
BD♯F♯AC♯EC♯EG♯B[D]F♯D♯F♯AC♯EG♯
V
11
vii
11
ii
11
v
11
IV
11
vi
11
A♯C♯EG♯ F♯A♯C♯EG♯
♯iv
7
*
F♯ Mixolydian:iii
ø
I
9
ii
9
.
Tonic TonicDominantPre-Dominant
17
D♯F♯♯A♯C♯E
C♯EG♯B
BD♯F♯AF♯AC♯E
G♯B♯D♯F♯
B♮D♮F♯AC♯
EG♯BD♮
vi
7E Major: VII
9
* V
7
ii
7
I
7
III
7
* v
9
*
F♯ Dorian: VI
9
**v
7
IV
7
i
7
II
7
** iv
9
VII
7
F♯ Aeolian:
i
7
ii
6
vi
7
VII
i
7
A♮C♯EG♯
IV
7
III
7
AC♯EG♮B
IV
9
III
9
F♯ Phrygian:
F♯AC♯EG♯ F
♯
AC
♯
E
EG
♯
BD
♯
AC
♯
E
BD♮F♯AC♯
EG♯BD♯
v
9
*
ii
9
I
7
I
7
IV
F♯ Dorian:
VII
7
i
9
iv
9
BD♯F♯AC♯E
V
9
IV
9
E Major:
F♯ Dorian:
EG♯B
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
D
♯
F
♯
AC
♯
E
EG
♯
BD
♯
D
♯
F
♯
AC
♯
C
♯
EG
♯
B[D
♯
]F
♯
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
F
♯
AC
♯
E
AC
♯
E
A Lydian:I I
7
II
7
V
IV
V
7
I
30
*= altered chord in Major/minor scale; **=altered chord in mode; Underlined chord symbol=Primary chord
▪mm 1-16 basic harmonic progression in F♯
Dorian (i/I interchange in mm 16)
▪mm 17-29 move through the “minor” modes
by modal interchange
▪mm 30-38 basic harmonic progression in E
Major ending with authentic cadence on tonic
OR
▪Modal interchange to “major” mode with half
cadence on dominant
AC♯EBG♯BD♯AF♯AC♯G♯EG♯BD♮F♯AE AC♯EB
C♯EG♯[B]D♮
BD♮F♯C♯
G♯BD♮F♮A
F♯AC♯EG♯B[D♯]F♯
A Lydian:I
9
vii
9
vi
9
V
9-8
IV
9iii
9
ii
9
89
95
E Major:IViiiii I♭VII
*viv
*
I
9
IV
A Ionian: vii
9**
vi V
9
iii
9*
ii I
103
F♯AC♯E[G♯]B
vi
11
ii
G♯BD♯F♯ BD♯F♯A
II
7
vii
7
iii V
7
A Lydian: V
9
I
V
13
I
13
Tonic Dominant Tonic Dominant Dominant
2
BDF♯AC♯E
BD
♯
F
♯
A
F
♯
AC
♯
G
♯
BD
♯
F
♯
A
EG♯BD♮F♯
C♯EG♯BD
F
♯
AC
♯
E
F
♯
AC
♯
E
AC
♯
EG
♯
EG♯B
F
♯
AC
♯
E
AC
♯
E[G
♯
]B
EG
♯
B[D]F
♯
AC
♯
EG
♯
B
39
Harmonic Modes
BDF♯AC♯EG♯BDF♯AC♯EG♯BDF♯AC♯E
G
♯
BDF
♯
A
DF♯AC♯E
B Dorian:i
11
ii
9
v
IV
9
v
7
IVVII
A Major:ii
11
iii
9
V
9
I
7
V
I
7
B Mixolydian:vi
viII
7
*vii
9
*
vi
9
i
9
IV
9
VII
9
III
9
ii
9
V
9
I
9
IV
9
vii
9
55
E Mixolydian:
I
7
VII
iii
7
IVV** IV
9
I
9
I
7
iii
7
63
Ionian:IIV
7
V
7
vi ii
7
V
7
I
I
7
IVI
*= altered chord in Major/minor scale; **=altered chord in mode; Underlined chord symbol=Dominant Equivalent
Tonic TonicDom Eq
i
I
+
47
C Mixolydian:
C Lydian Augmented:
C♯ Phrygian:
C♯EG♯[B]D♮
BD♮F♯C♯
G♯BD♮F♮A
F♯AC♯EG♯B[D♯]F♯
A Lydian:I
9
vii
9
vi
9
V
9-8
IV
9iii
9
ii
9
89
95
E Major:IViiiii I♭VII
*viv
*
I
9
IV
A Ionian: vii
9**
vi V
9
iii
9*
ii I
103
F♯AC♯E[G♯]B
vi
11
ii
G♯BD♯F♯ BD♯F♯A
II
7
vii
7
iii V
7
A Lydian: V
9
I
V
13
I
13
Tonic Dominant Tonic Dominant Dominant
2
BDF♯AC♯E
BD
♯
F
♯
A
F
♯
AC
♯
G
♯
BD
♯
F
♯
A
EG♯BD♮F♯
C♯EG♯BD
F
♯
AC
♯
E
F
♯
AC
♯
E
AC
♯
EG
♯
EG♯B
F
♯
AC
♯
E
AC
♯
E[G
♯
]B
EG
♯
B[D]F
♯
AC
♯
EG
♯
B
39
Harmonic Modes
BDF♯AC♯EG♯BDF♯AC♯EG♯BDF♯AC♯E
G
♯
BDF
♯
A
DF♯AC♯E
B Dorian:i
11
ii
9
v
IV
9
v
7
IVVII
A Major:ii
11
iii
9
V
9
I
7
V
I
7
B Mixolydian:vi
viII
7
*vii
9
*
vi
9
i
9
IV
9
VII
9
III
9
ii
9
V
9
I
9
IV
9
vii
9
55
E Mixolydian:
I
7
VII
iii
7
IVV** IV
9
I
9
I
7
iii
7
63
Ionian:IIV
7
V
7
vi ii
7
V
7
I
I
7
IVI
*= altered chord in Major/minor scale; **=altered chord in mode; Underlined chord symbol=Dominant Equivalent
Tonic TonicDom Eq
i
I
+
47
C Mixolydian:
C Lydian Augmented:
C♯ Phrygian:
[iv]
3
Harmonic Schema
mm 1-38 mm 39-70 mm 71-107
F♯ Dorian
A Lydian
mm 34
B Dorian
mm 39
E Mixolydian
mm 55
Ionian
mm 63
F♯ Dorian
mm 71
A Lydian
mm 89
P4
P5
m3
P4
m6 m3
MeasureBeatTransition
13 1F♯ Dorian iiiIIIIVvvi
o
VII
17 1F♯ MixolydianIiiiii
o
IVvviVII
22 1F♯ Dorian iiiIIIIVvvi
o
VII
26 1F♯ Aeolian iii
o
IIIivvVIVII
26 2F♯ PhrygianiIIIIIivv
o
VIvii
29 1F♯ Dorian iiiIIIIVvvi
o
VII
34 1A Lydian IIIiiiIVVvivii
MeasureBeatTransition
39 1B Dorian iiiIIIIVvvi
o
VII
55 1E MixolydianIiiiii
o
IVvviVII
63 1Ionian IiiiiiIVVvivii
o
MeasureBeatTransition
71 1F♯ DorianiiiIIIIVvvi
o
VII
89 1A LydianIIIiiiIVVvivii
91 1A IonianIiiiiiIVVvivii
o
97 1A LydianIIIiiiIVVvivii
C♯ Aeolian
mm 70
P4
M2 m2
mm 63-7 mm 68 mm 70 beat 1 mm 70 beat 3
▪Pivot chords are Tonic, Mediant, Submediant (avoids root movement by fifths)
3
Harmonic Schema
mm 1-38 mm 39-70 mm 71-107
F♯ Dorian
A Lydian
mm 34
B Dorian
mm 39
E Mixolydian
mm 55
Ionian
mm 63
F♯ Dorian
mm 71
A Lydian
mm 89
P4
P5
m3
P4
m6 m3
MeasureBeatTransition
13 1F♯ Dorian iiiIIIIVvvi
o
VII
17 1F♯ MixolydianIiiiii
o
IVvviVII
22 1F♯ Dorian iiiIIIIVvvi
o
VII
26 1F♯ Aeolian iii
o
IIIivvVIVII
26 2F♯ PhrygianiIIIIIivv
o
VIvii
29 1F♯ Dorian iiiIIIIVvvi
o
VII
34 1A Lydian IIIiiiIVVvivii
MeasureBeatTransition
39 1B Dorian iiiIIIIVvvi
o
VII
55 1E MixolydianIiiiii
o
IVvviVII
63 1Ionian IiiiiiIVVvivii
o
MeasureBeatTransition
71 1F♯ DorianiiiIIIIVvvi
o
VII
89 1A LydianIIIiiiIVVvivii
91 1A IonianIiiiiiIVVvivii
o
97 1A LydianIIIiiiIVVvivii
C♯ Aeolian
mm 70
P4
M2 m2
mm 63-7 mm 68 mm 70 beat 1 mm 70 beat 3
▪Pivot chords are Tonic, Mediant, Submediant (avoids root movement by fifths)
4
Pitch Materials>Modes and Scales
C♯ Aeolian
Hexachord: B, C♯, D♯, E, F♯, G♯
Hexachord: E, F♯, G♯, A, B, C♯ (E Ionian without leading tone)
A Lydian
Outer RH: F♯-A-C♯-E-G♯=i
9
and Pentatonic scale G♯, A, C♯, E, F♯ [13322]
RH & LH: F♯-A♯-C♯-E-G♯=I
9
and Pentatonic
scale E, F♯, G♯, A♯, C♯ [22233]
1 10
17
30
A Lydian
E Ionian
B
B
A Lydian
A
A
A Lydian
Hexatonic: C♯, D♮, E, F♯, G♯, A (C♯ Phrygian without leading tone) Hexachord: E, F♯, G♯, A, B, C♯ through mm 32
mm 34-6: RH inner voices are F♯ Dorian, E Ionian, C♯ Aeolian
E Ionian
D Locrian
C♯ AeolianB Mixolydian
A Lydian
G♯ Phrygian
F♯ Dorian
Pitch Materials>Modes and Scales
C♯ Aeolian
Hexachord: B, C♯, D♯, E, F♯, G♯
Hexachord: E, F♯, G♯, A, B, C♯ (E Ionian without leading tone)
A Lydian
Outer RH: F♯-A-C♯-E-G♯=i
9
and Pentatonic scale G♯, A, C♯, E, F♯ [13322]
RH & LH: F♯-A♯-C♯-E-G♯=I
9
and Pentatonic
scale E, F♯, G♯, A♯, C♯ [22233]
1 10
17
30
A Lydian
E Ionian
B
B
A Lydian
A
A
A Lydian
Hexatonic: C♯, D♮, E, F♯, G♯, A (C♯ Phrygian without leading tone) Hexachord: E, F♯, G♯, A, B, C♯ through mm 32
mm 34-6: RH inner voices are F♯ Dorian, E Ionian, C♯ Aeolian
E Ionian
D Locrian
C♯ AeolianB Mixolydian
A Lydian
G♯ Phrygian
F♯ Dorian
5
C♯ Phrygian
F♯ Aeolian
87
A Lydian
A Ionian
A Ionian
E Mixolydian
Pitch Materials>Modes and Scales
39 63
Bass: D, E, F, G, A, B (Dorian without leading tone)
Inner LH=Hexachord: C, D, E, F, G, A
MixolydianA Lydian
Anhemitonic Pentatonic: E, F♯, G♯, B, C♯ [22323] 103
39
E Mixolydian
E Mixolydian
Hexachord: A, B, C♯, D, E, F♯ (A Ionian without leading tone)
D Lydian A IonianC♯ Phrygian47
E Mixolydian
D Lydian
C♯ PhrygianB Dorian
A Ionian
G♯ Locrian
F♯ Aeolian
C♯ Phrygian
F♯ Aeolian
87
A Lydian
A Ionian
A Ionian
E Mixolydian
Pitch Materials>Modes and Scales
39 63
Bass: D, E, F, G, A, B (Dorian without leading tone)
Inner LH=Hexachord: C, D, E, F, G, A
MixolydianA Lydian
Anhemitonic Pentatonic: E, F♯, G♯, B, C♯ [22323] 103
39
E Mixolydian
E Mixolydian
Hexachord: A, B, C♯, D, E, F♯ (A Ionian without leading tone)
D Lydian A IonianC♯ Phrygian47
E Mixolydian
D Lydian
C♯ PhrygianB Dorian
A Ionian
G♯ Locrian
F♯ Aeolian
6
Pitch Materials>Tetrachords
M3
m3
2 semitones
2 semitones
1 semitone
P5
m3
M3
P5
2 semitones
2 semitones
1 semitone
17 20 30
E
1
10
87
39 55
49
63
Pitch Materials>Tetrachords
M3
m3
2 semitones
2 semitones
1 semitone
P5
m3
M3
P5
2 semitones
2 semitones
1 semitone
17 20 30
E
1
10
87
39 55
49
63
7
Pitch Materials>Tetrachords
From To LayerTetrachordSemitone
MeasureBeatMeasureBeat Pattern
11 24OLHC♯BAG♯ 221
11 24MLHED♯C♯B 122
11 24ILHAG♯F♯E 122
12 24IRHC♯BAG♯ 221
12 24MRHED♯C♯B 122
21 33OLHAG♯F♯E 122
21 44MRHAG♯F♯E 122
44 62ORHAG♯F♯E 122
71 81IRHED♯C♯B 122
101 104RH BC♯D♯E 221Ascending
91 121OLHEF♯G♯A 221Ascending
121 124RH D♯EF♯G♯ 122Ascending
171 184ORHAG♯F♯E 122
193 211RH ED♯C♯B 122
204 222ILHG♯F♯ED♯ 221
223 241RH AG♯F♯E 122
261 341LH AG♯F♯E 122
314 321RH AG♯F♯E 122
321 324RH EF♯G♯A 221Ascending
Frequency Distribution
AG♯F♯E16 122
ED♯C♯B6 122
D♮C♯BA4 122
EF♯G♯A4 221
C♯BAG♯3 221
BC♯D♯E2 221
D♯EF♯G♯2 122
F♯ED♮C♯2 221
EF♮G♮A1 122
G♯F♯ED♯1 221
AG♮F♮E1 221
From To LayerTetrachordSemitone
MeasureBeatMeasureBeat Pattern
351 354RH BC♯D♯E 221Ascending
391 401ORHD♮C♯BA 122
401 411ORHAG♯F♯E 122
441 451IRHED♯C♯B 122
444 461OLHAG♯F♯E 122
492 494ORHAG♯F♯E 122
501 502ORHF♯ED♮C♯ 221
503 504ORHD♮C♯BA 122
503 504LH D♮C♯BA 122
551 561OLHEF♯G♯A 221Ascending
631 641OLHEF♮G♮A 122Ascending
644 653 AG♮F♮E 221
871 184ORHAG♯F♯E 122
891 904ORHAG♯F♯E 122
892 903IRHED♯C♯B 122
892 903OLHC♯BAG♯ 221
911 923OLHF♯ED♮C♯ 221
912 922IRHAG♯F♯E 122
924 941ORHAG♯F♯E 122
931 941IRHD♮C♯BA 122
951 991RH AG♯F♯E 122
221221
122
221
221
122
Pitch Materials>Tetrachords
From To LayerTetrachordSemitone
MeasureBeatMeasureBeat Pattern
11 24OLHC♯BAG♯ 221
11 24MLHED♯C♯B 122
11 24ILHAG♯F♯E 122
12 24IRHC♯BAG♯ 221
12 24MRHED♯C♯B 122
21 33OLHAG♯F♯E 122
21 44MRHAG♯F♯E 122
44 62ORHAG♯F♯E 122
71 81IRHED♯C♯B 122
101 104RH BC♯D♯E 221Ascending
91 121OLHEF♯G♯A 221Ascending
121 124RH D♯EF♯G♯ 122Ascending
171 184ORHAG♯F♯E 122
193 211RH ED♯C♯B 122
204 222ILHG♯F♯ED♯ 221
223 241RH AG♯F♯E 122
261 341LH AG♯F♯E 122
314 321RH AG♯F♯E 122
321 324RH EF♯G♯A 221Ascending
Frequency Distribution
AG♯F♯E16 122
ED♯C♯B6 122
D♮C♯BA4 122
EF♯G♯A4 221
C♯BAG♯3 221
BC♯D♯E2 221
D♯EF♯G♯2 122
F♯ED♮C♯2 221
EF♮G♮A1 122
G♯F♯ED♯1 221
AG♮F♮E1 221
From To LayerTetrachordSemitone
MeasureBeatMeasureBeat Pattern
351 354RH BC♯D♯E 221Ascending
391 401ORHD♮C♯BA 122
401 411ORHAG♯F♯E 122
441 451IRHED♯C♯B 122
444 461OLHAG♯F♯E 122
492 494ORHAG♯F♯E 122
501 502ORHF♯ED♮C♯ 221
503 504ORHD♮C♯BA 122
503 504LH D♮C♯BA 122
551 561OLHEF♯G♯A 221Ascending
631 641OLHEF♮G♮A 122Ascending
644 653 AG♮F♮E 221
871 184ORHAG♯F♯E 122
891 904ORHAG♯F♯E 122
892 903IRHED♯C♯B 122
892 903OLHC♯BAG♯ 221
911 923OLHF♯ED♮C♯ 221
912 922IRHAG♯F♯E 122
924 941ORHAG♯F♯E 122
931 941IRHD♮C♯BA 122
951 991RH AG♯F♯E 122
221221
122
221
221
122
8
m6
P4M6
M6M6M2
M2
TTm6
m2 m6
m2
P5
P4
M6
m6
M2 M2 M2
M2
P4 P4
m3
10
th
8ve 10
th
8ve 10th 8ve 10th 8ve
8ve8ve8ve m6 m7 M6 10th
10th
Palindrome: C♯-E-D♯-E-C♯
Palindrome: G♯-E-D♯-C♯-D♯-E-G♯
Palindrome: E-G♯-F♯-G♯-E
10th10th
Palindrome: F♯-C♯-F♯
Palindrome: C♯-B-A-B-C♯
10th
10th
Interval Patterns
C♯-E C♯-E
F♯-G♯ F♯-G♯
E-C♯ C♯-E C♯-E C♯-EC♯-E
1 10
10
1
M2P4m3P4m2P4m3P4M2M3M3P4M2M2
m3 m3P4 P4
P5 M6
E-C♯ E-C♯
P5
▪Symmetrical arrangements of pitches,
intervals, and blocks
▪Mimics patterns found in Nature
m6
P4M6
M6M6M2
M2
TTm6
m2 m6
m2
P5
P4
M6
m6
M2 M2 M2
M2
P4 P4
m3
10
th
8ve 10
th
8ve 10th 8ve 10th 8ve
8ve8ve8ve m6 m7 M6 10th
10th
Palindrome: C♯-E-D♯-E-C♯
Palindrome: G♯-E-D♯-C♯-D♯-E-G♯
Palindrome: E-G♯-F♯-G♯-E
10th10th
Palindrome: F♯-C♯-F♯
Palindrome: C♯-B-A-B-C♯
10th
10th
Interval Patterns
C♯-E C♯-E
F♯-G♯ F♯-G♯
E-C♯ C♯-E C♯-E C♯-EC♯-E
1 10
10
1
M2P4m3P4m2P4m3P4M2M3M3P4M2M2
m3 m3P4 P4
P5 M6
E-C♯ E-C♯
P5
▪Symmetrical arrangements of pitches,
intervals, and blocks
▪Mimics patterns found in Nature
34
EG♯B
Bass: BD♯F♯A
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
D
♯
F
♯
AC
♯
E
♯
EG
♯
BD
♯
D
♯
F
♯
AC
♯
C
♯
EG
♯
B[D
♯
]F
♯
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
F
♯
AC
♯
E
AC
♯
E
9
A Lydian:I I
7
II
7
V
E Major:IV V
7
I
Interval Patterns
A Lydian
palindrome
palindrome
m6m6 M6 M6m6m7 m6M7m6M6m6m7m6M6 m6M6m6m7 m7m6m6M6 M6m7m7m6 M6m78veP4M6 m6
17
P5P4P5P4P5m6
P5
TT
P5
m6
P5
TT
P5
P4
P5
TT
P5
P5
P4
P5
TT
P4
P4
P5
TT
EG♯B
Bass: BD♯F♯A
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
D
♯
F
♯
AC
♯
E
♯
EG
♯
BD
♯
D
♯
F
♯
AC
♯
C
♯
EG
♯
B[D
♯
]F
♯
BD
♯
F
♯
A
AC
♯
EG
♯
G
♯
BD
♯
F
♯
F
♯
AC
♯
E
AC
♯
E
9
A Lydian:I I
7
II
7
V
E Major:IV V
7
I
Interval Patterns
A Lydian
palindrome
palindrome
m6m6 M6 M6m6m7 m6M7m6M6m6m7m6M6 m6M6m6m7 m7m6m6M6 M6m7m7m6 M6m78veP4M6 m6
17
P5P4P5P4P5m6
P5
TT
P5
m6
P5
TT
P5
P4
P5
TT
P5
P5
P4
P5
TT
P4
P4
P5
TT
13
Date French English
1885
J’ai été entendre deux messes, une dePalestrina, l’autre de Orlando de Lassus, dans une église,
applée l’Anima.
Les deux bonshommes susnommés sont des maîtres surtout Orlando qui est plus décoratif, plus
humain que Palestrina. Puis, je considère comme un veritable tour de force, les effets qu’ils
tirent simplement d’une science énorme du contrepoint…Or, avec eux, il deviant admirable;
soulignant le sentiments des mots avec une profondeur inouïe, et parfois, il y a des
enroulementsdedessinsmélodiquesquivousfontl’effet,d’enluminuresdetrésvieuxmissels.
-Letter to Henri Vasnier, November 24, 1885 (Correspondance, 44)
I went to hear two masses, one by Palestrina, the other by Orlando de Lassus, in a church called
the Anima[Santa Maria dell’ Anima, near the Piazza Navona]. The two above-named
gentlemen are true masters, especially Orlando, who is more decorative, more human than
Palestrina. I’m truly amazed at the effects they can get simply from a vast knowledge of
counterpoint…But in their hands it becomes something wonderful, adding an extraordinary
depth to the meaning of the words. And every now and then the melodic lines unroll and
expand, reminding you of theilluminationsinancientmissals.
-translation by Roger Nichols in Debussy Letters, Cambridge, MA: Harvard University Press,
1987, 14
1893 …c’est à S
t
-Gervais,…on a chanté une messe de Palestrina [Missa brevis] pour voix seules. C’est
merveilleuesement beau; cette musique qui pourtant est d’une écriture très sévère, paraît
toute blanche, etl’émotionn’estpastraduite,(commecelaestdevenudepuis)pardescris,
maispardesarabesquesmélodiques, cela vaut, en quelqe sorte, par le contour, etpardes
arabesquess’entrecroisantpourproduire,cettechosequisembleêtredevenueunique:des
harmoniesmélodiques!
-Letter to André Poniatowski, February, 1893 (Correspondance, 116)
…at Saint-Gervais,…They sang a Palestrina mass for unaccompanied voices. It was extremely
beautiful. Even though technically it’s very strict, the effect is of utter whiteness, and emotion
is not represented (as has come to be the norm since) by dramatic cries but by melodic
arabesques. The shaping of the music is what strikes you, and the arabesques crossing with
each other to produce something which has never been repeated: harmony forms out of
melodies!
-translation by Roger Nichols in Debussy Letters, 42
1901 Pourtant, ce concerto est une chose admirable parmi tant d’autres déjà inscrites dans les
cahiers du grand Bach;onyretrouvepresqueintactecette«arabesquemusicale»ouplutôt
ceprincipede«l’ornement»quiestlebasedetouslesmodesdeart.(Le mot « ornement »
n’a rien à voir ici avec la signification qu’on lui donne dans les grammaires musicales.)
Les primitifs, Palestrina, Vittoria, Orlando di Lasso, etc.., se servirent de cette divine «
arabesque ». Ils en trouvèrent le principe dans le chant grégorien et en étayèrent les frêles
entrelacs par de résistants contre-points. Bach en reprenent l’arabesque la rendit plus souple,
plus fluide, et, malgré la sévére discipline qu’imposait ce grand maître à la Beauté, elle put se
mouvoir avec cette libre fantaisie toujours renouvelée qui étonne encore à notre époque.
-in La Revue Blanche, 1 May 1901.
https://archive.org/details/larevueblanche25pariuoft/page/66/mode/2up
…almost the entire piece [Bach Violin Concerto in G] is pure “musical arabesque,” or rather it is
based on the principle of the “ornament,” which is at the root of all kinds of art. (And the word
“ornament” here has nothing to do with the ornaments one finds in musical dictionaries.)
The primitives-Palestrina, Vittoria, Orlando di Lasso, etc.-had this divine sense of the
arabesque. They found the basis of it in Gregorian chant, whose delicate tracery they
supported withtwiningcounterpoints. In reworking the arabesque, Bach made it more
flexible, more fluid, and despite the fact that the Great Master always imposed a rigorous
discipline on beauty, he imbued it with a wealth of free fantasy so limitless that it still
astonishes us today.
-translation by Richard Langham Smith in Debussy on Music, 27
Debussy on Arabesques
Date French English
1885
J’ai été entendre deux messes, une dePalestrina, l’autre de Orlando de Lassus, dans une église,
applée l’Anima.
Les deux bonshommes susnommés sont des maîtres surtout Orlando qui est plus décoratif, plus
humain que Palestrina. Puis, je considère comme un veritable tour de force, les effets qu’ils
tirent simplement d’une science énorme du contrepoint…Or, avec eux, il deviant admirable;
soulignant le sentiments des mots avec une profondeur inouïe, et parfois, il y a des
enroulementsdedessinsmélodiquesquivousfontl’effet,d’enluminuresdetrésvieuxmissels.
-Letter to Henri Vasnier, November 24, 1885 (Correspondance, 44)
I went to hear two masses, one by Palestrina, the other by Orlando de Lassus, in a church called
the Anima[Santa Maria dell’ Anima, near the Piazza Navona]. The two above-named
gentlemen are true masters, especially Orlando, who is more decorative, more human than
Palestrina. I’m truly amazed at the effects they can get simply from a vast knowledge of
counterpoint…But in their hands it becomes something wonderful, adding an extraordinary
depth to the meaning of the words. And every now and then the melodic lines unroll and
expand, reminding you of theilluminationsinancientmissals.
-translation by Roger Nichols in Debussy Letters, Cambridge, MA: Harvard University Press,
1987, 14
1893 …c’est à S
t
-Gervais,…on a chanté une messe de Palestrina [Missa brevis] pour voix seules. C’est
merveilleuesement beau; cette musique qui pourtant est d’une écriture très sévère, paraît
toute blanche, etl’émotionn’estpastraduite,(commecelaestdevenudepuis)pardescris,
maispardesarabesquesmélodiques, cela vaut, en quelqe sorte, par le contour, etpardes
arabesquess’entrecroisantpourproduire,cettechosequisembleêtredevenueunique:des
harmoniesmélodiques!
-Letter to André Poniatowski, February, 1893 (Correspondance, 116)
…at Saint-Gervais,…They sang a Palestrina mass for unaccompanied voices. It was extremely
beautiful. Even though technically it’s very strict, the effect is of utter whiteness, and emotion
is not represented (as has come to be the norm since) by dramatic cries but by melodic
arabesques. The shaping of the music is what strikes you, and the arabesques crossing with
each other to produce something which has never been repeated: harmony forms out of
melodies!
-translation by Roger Nichols in Debussy Letters, 42
1901 Pourtant, ce concerto est une chose admirable parmi tant d’autres déjà inscrites dans les
cahiers du grand Bach;onyretrouvepresqueintactecette«arabesquemusicale»ouplutôt
ceprincipede«l’ornement»quiestlebasedetouslesmodesdeart.(Le mot « ornement »
n’a rien à voir ici avec la signification qu’on lui donne dans les grammaires musicales.)
Les primitifs, Palestrina, Vittoria, Orlando di Lasso, etc.., se servirent de cette divine «
arabesque ». Ils en trouvèrent le principe dans le chant grégorien et en étayèrent les frêles
entrelacs par de résistants contre-points. Bach en reprenent l’arabesque la rendit plus souple,
plus fluide, et, malgré la sévére discipline qu’imposait ce grand maître à la Beauté, elle put se
mouvoir avec cette libre fantaisie toujours renouvelée qui étonne encore à notre époque.
-in La Revue Blanche, 1 May 1901.
https://archive.org/details/larevueblanche25pariuoft/page/66/mode/2up
…almost the entire piece [Bach Violin Concerto in G] is pure “musical arabesque,” or rather it is
based on the principle of the “ornament,” which is at the root of all kinds of art. (And the word
“ornament” here has nothing to do with the ornaments one finds in musical dictionaries.)
The primitives-Palestrina, Vittoria, Orlando di Lasso, etc.-had this divine sense of the
arabesque. They found the basis of it in Gregorian chant, whose delicate tracery they
supported withtwiningcounterpoints. In reworking the arabesque, Bach made it more
flexible, more fluid, and despite the fact that the Great Master always imposed a rigorous
discipline on beauty, he imbued it with a wealth of free fantasy so limitless that it still
astonishes us today.
-translation by Richard Langham Smith in Debussy on Music, 27
Debussy on Arabesques
14
Aesthetic Sources
“The silken hair, too, had been suffered to grow all unheeded, and as, in itswildgossamertexture, it
floated rather than fell about the face, I could not, even with effort, connect itsArabesqueexpression
with any idea of simple humanity.” Edgar Allan Poe, The Fall of the House of Usher.
Debussy’s notion of “arabesque” is crucial to an understanding of his art, for it meant something
quitedifferentfromtheconceptofmelody. My analysis suggests that it is melodic. It was an
ornamental line “based on natural curves.”[source of quote not cited] His ideas on the nature of
such lines had been fertilized by writings on visual art,probablyRuskin, whose ideas were echoed by
many painters at the turn of the century. The so-called art nouveau movement, with which Maurice
Denis was associated, inherited Ruskinian and Pre-Raphaelite ideals of natural line. [Maurice Denis
illustrated the cover of the score of La Damoiselle élue which Debussy was working on around the
time he wrote Deux Arabesques] Ruskins ideas were newly translated into French and received
considerable attention, particularly through the efforts of the Anglophile Robert de la Sizeranne, who
published a book, Ruskin et la Religion de la Beauté, in which he summarized Ruskin’s theories.
“Ruskin,” he writes,
Praises the artists of the ducal palace [in Florence] Venice? for having discovered the
grandeur of foliage and for incorporating it into the huge surfaces of their powerful murals,
just as nature takes pride in the sorrel leaf or water lily. He requires one to give the
vegetable ornament the same value as nature herself.
https://archive.org/details/ruskinetlareligi00lasi/page/238/mode/2up (page 239)
Such phrases are remarkably similar to what Debussy expressed in his several expositions of his
theory of musical “arabesque”…Denis himself stresses the sinuous arabesque based on natural
forms. “I dream ofancientmissalswith rhythmical borders…anembroideryofarabesqueson the
pages, an accompaniment of expressive contours” (Art et Critique, 30 August 1890).
Richard Langham Smith and François Lesure, Debussy on Music, New York: Alfred A. Knopf, 1977, 31
We have much evidence [no evidence cited] showing thatDebussy'smusicalandartisticsensibilityat
thisstagewasareflectionofthetheoriesoftheArtNouveaumovement.Hisconceptionofmelody
asan"arabesque"wasthedirectmusicalcounterpartofthesetheories. (Lockspeiser, vol 1, 118)
The term "Arabesque" is one with which the composer was quite conversant. Something of a
fashionable expression among contemporary artists of the day, it should not be interpreted as having
a precise meaning. As may be gathered from the composer’s writings, Debussy himself applied the
term somewhat loosely, using it for instance when referring to plainsong, J. S. Bach, Balinese music
and even his own Prélude à l'après-midi d'un faune
Ernst-Günter Heinemann, Preface to Claude Debussy, Piano Works, volume 1, Munich: G. Henle
Verlag, 2011, x
§V. How far this subordination is in different situations to be expressed, or how far it may be
surrendered, and ornament, the servant, be permitted to have independent will; and by what means the
subordination is best to be expressed when it is required, are by far the most difficult questions I have
ever tried to work out respecting any branch of art; for, in many of the examples to which I look as
authoritative in their majesty of effect, it is almost impossible to say whether the abstraction or
imperfection of the sculpture was owing to the choice, or the incapacity of the workman; and, if to the
latter, how far the result of fortunate incapacity can be imitated by prudent self-restraint. The reader, I
think, will understand this at once byconsideringtheeffectoftheilluminationsofanoldmissal.In
theirboldrejectionofallprinciplesofperspective,lightandshade,anddrawing,theyareinfinitely
moreornamentaltothepage,owingtothevividoppositionoftheirbrightcolorsandquaintlines, than
if they had been drawn by Da Vinci himself: and so the Arena chapel is far more brightlydecoratedby
the archaic frescoes of Giotti [sic], than the Stanze of the Vatican are by those of Raffaelle. Buthow
faritispossibletorecurtosucharchaicism,ortomakeupforitbyanyvoluntaryabandonmentof
power,Icannotasyetventureinanywisetodetermine.
John Ruskin, The Stones of Venice, volume 1, 1851, page 236
http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page236
§XIX. Our firstconstituentsofornamentwill therefore be abstract lines, that is to say,themost
frequentcontoursofnaturalobjects,…§XXI.Weneednot,however,hopetobeabletoimitate,in
generalwork,anyofthesubtlycombinedcurvaturesofnature’shighestdesigning…
John Ruskin, The Stones of Venice, volume 1, 1851, page 222
http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page222
Aesthetic Sources
“The silken hair, too, had been suffered to grow all unheeded, and as, in itswildgossamertexture, it
floated rather than fell about the face, I could not, even with effort, connect itsArabesqueexpression
with any idea of simple humanity.” Edgar Allan Poe, The Fall of the House of Usher.
Debussy’s notion of “arabesque” is crucial to an understanding of his art, for it meant something
quitedifferentfromtheconceptofmelody. My analysis suggests that it is melodic. It was an
ornamental line “based on natural curves.”[source of quote not cited] His ideas on the nature of
such lines had been fertilized by writings on visual art,probablyRuskin, whose ideas were echoed by
many painters at the turn of the century. The so-called art nouveau movement, with which Maurice
Denis was associated, inherited Ruskinian and Pre-Raphaelite ideals of natural line. [Maurice Denis
illustrated the cover of the score of La Damoiselle élue which Debussy was working on around the
time he wrote Deux Arabesques] Ruskins ideas were newly translated into French and received
considerable attention, particularly through the efforts of the Anglophile Robert de la Sizeranne, who
published a book, Ruskin et la Religion de la Beauté, in which he summarized Ruskin’s theories.
“Ruskin,” he writes,
Praises the artists of the ducal palace [in Florence] Venice? for having discovered the
grandeur of foliage and for incorporating it into the huge surfaces of their powerful murals,
just as nature takes pride in the sorrel leaf or water lily. He requires one to give the
vegetable ornament the same value as nature herself.
https://archive.org/details/ruskinetlareligi00lasi/page/238/mode/2up (page 239)
Such phrases are remarkably similar to what Debussy expressed in his several expositions of his
theory of musical “arabesque”…Denis himself stresses the sinuous arabesque based on natural
forms. “I dream ofancientmissalswith rhythmical borders…anembroideryofarabesqueson the
pages, an accompaniment of expressive contours” (Art et Critique, 30 August 1890).
Richard Langham Smith and François Lesure, Debussy on Music, New York: Alfred A. Knopf, 1977, 31
We have much evidence [no evidence cited] showing thatDebussy'smusicalandartisticsensibilityat
thisstagewasareflectionofthetheoriesoftheArtNouveaumovement.Hisconceptionofmelody
asan"arabesque"wasthedirectmusicalcounterpartofthesetheories. (Lockspeiser, vol 1, 118)
The term "Arabesque" is one with which the composer was quite conversant. Something of a
fashionable expression among contemporary artists of the day, it should not be interpreted as having
a precise meaning. As may be gathered from the composer’s writings, Debussy himself applied the
term somewhat loosely, using it for instance when referring to plainsong, J. S. Bach, Balinese music
and even his own Prélude à l'après-midi d'un faune
Ernst-Günter Heinemann, Preface to Claude Debussy, Piano Works, volume 1, Munich: G. Henle
Verlag, 2011, x
§V. How far this subordination is in different situations to be expressed, or how far it may be
surrendered, and ornament, the servant, be permitted to have independent will; and by what means the
subordination is best to be expressed when it is required, are by far the most difficult questions I have
ever tried to work out respecting any branch of art; for, in many of the examples to which I look as
authoritative in their majesty of effect, it is almost impossible to say whether the abstraction or
imperfection of the sculpture was owing to the choice, or the incapacity of the workman; and, if to the
latter, how far the result of fortunate incapacity can be imitated by prudent self-restraint. The reader, I
think, will understand this at once byconsideringtheeffectoftheilluminationsofanoldmissal.In
theirboldrejectionofallprinciplesofperspective,lightandshade,anddrawing,theyareinfinitely
moreornamentaltothepage,owingtothevividoppositionoftheirbrightcolorsandquaintlines, than
if they had been drawn by Da Vinci himself: and so the Arena chapel is far more brightlydecoratedby
the archaic frescoes of Giotti [sic], than the Stanze of the Vatican are by those of Raffaelle. Buthow
faritispossibletorecurtosucharchaicism,ortomakeupforitbyanyvoluntaryabandonmentof
power,Icannotasyetventureinanywisetodetermine.
John Ruskin, The Stones of Venice, volume 1, 1851, page 236
http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page236
§XIX. Our firstconstituentsofornamentwill therefore be abstract lines, that is to say,themost
frequentcontoursofnaturalobjects,…§XXI.Weneednot,however,hopetobeabletoimitate,in
generalwork,anyofthesubtlycombinedcurvaturesofnature’shighestdesigning…
John Ruskin, The Stones of Venice, volume 1, 1851, page 222
http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page222
Franz Liszt, Sposalizio,Deuxième Année de Pèlerinage: Italie, 1858
10
Possible Influence: Franz Liszt
120
Claude Debussy, Première Arabesque
6
99
Other similarities:
▪Key signature of 4 sharps
▪Approximately same length (107/133
measures)
▪Tri-partite form with chordal middle
section
▪Use of Pentatonic/Pentatonic
overlays
▪Needs further study
Chronology:
November 1885-meets Franz Liszt who encourages him to hear works of
Palestrina and Lassus in Rome (Lockspeiser, vol 1, 81-3, 238)
July 31, 1886-Franz Liszt dies
1887-begins La Damoiselle élue on a Pre-Raphaelite text (Lockspeiser, vol 1, 239)
1888-Deux Arabesques written but possibly written earlier (Lockspeiser, vol 1, 239)
▪Liszt’s Sposalizio was inspired by Raphael’s painting Marriage of
the Virgin at the Pinacoteca di Brera in Milan.
(https://en.wikipedia.org/wiki/The_Marriage_of_the_Virgin_(Raphael)#/media/File:Raffaello_-
_Spozalizio_-_Web_Gallery_of_Art.jpg)
▪Was Debussy paying homage to Liszt in the first Arabesque by
quoting Liszt’s musical homage to Raphael?
▪At the same time Debussy was becoming interested in the Pre-
Raphaelites who rejected the (classical) Mannerist aesthetic of the
successors of Raphael and was himself rejecting the classical style
in music (Lockspeiser, vol 1, 204)
Association with his stay at the Villa Medici?
As the winner of the Prix de Rome, Debussy was a resident at the Villa Medici, home of the
French Academy in Rome from 1885 50 1887. https://www.villamedici.it/en/
The walls of the Villa Medici are decorated with grotesques and arabesques (It is possible
they were covered up when Debussy was there. A lot of restoration was done decades after
Debussy’s residence). About ten years after his return from Rome, he expressed his disdain
for his Deux Arabesques to his student Michèle Worms de Romilly. Could it be because they
reminded him of his unhappy time at the Villa Medici?
…thinking I would give him a nice surprise, I had also studied his two Arabesques [to play them for Debussy
at her next lesson]. As soon as he recognized the volume, he picked it up and threw it to one side, saying:
‘Not those,they’redreadful!’
-Michèle Worms de Romilly, memories of Debussy as her teacher, 1933. This happened circa
1898-about 6 years after the latest supposed composition date.
Quoted in Roger Nichols, Debussy Remembered, London, Faber and Faber, 1992, 53.
10
Possible Influence: Franz Liszt
120
Claude Debussy, Première Arabesque
6
99
Other similarities:
▪Key signature of 4 sharps
▪Approximately same length (107/133
measures)
▪Tri-partite form with chordal middle
section
▪Use of Pentatonic/Pentatonic
overlays
▪Needs further study
Chronology:
November 1885-meets Franz Liszt who encourages him to hear works of
Palestrina and Lassus in Rome (Lockspeiser, vol 1, 81-3, 238)
July 31, 1886-Franz Liszt dies
1887-begins La Damoiselle élue on a Pre-Raphaelite text (Lockspeiser, vol 1, 239)
1888-Deux Arabesques written but possibly written earlier (Lockspeiser, vol 1, 239)
▪Liszt’s Sposalizio was inspired by Raphael’s painting Marriage of
the Virgin at the Pinacoteca di Brera in Milan.
(https://en.wikipedia.org/wiki/The_Marriage_of_the_Virgin_(Raphael)#/media/File:Raffaello_-
_Spozalizio_-_Web_Gallery_of_Art.jpg)
▪Was Debussy paying homage to Liszt in the first Arabesque by
quoting Liszt’s musical homage to Raphael?
▪At the same time Debussy was becoming interested in the Pre-
Raphaelites who rejected the (classical) Mannerist aesthetic of the
successors of Raphael and was himself rejecting the classical style
in music (Lockspeiser, vol 1, 204)
Association with his stay at the Villa Medici?
As the winner of the Prix de Rome, Debussy was a resident at the Villa Medici, home of the
French Academy in Rome from 1885 50 1887. https://www.villamedici.it/en/
The walls of the Villa Medici are decorated with grotesques and arabesques (It is possible
they were covered up when Debussy was there. A lot of restoration was done decades after
Debussy’s residence). About ten years after his return from Rome, he expressed his disdain
for his Deux Arabesques to his student Michèle Worms de Romilly. Could it be because they
reminded him of his unhappy time at the Villa Medici?
…thinking I would give him a nice surprise, I had also studied his two Arabesques [to play them for Debussy
at her next lesson]. As soon as he recognized the volume, he picked it up and threw it to one side, saying:
‘Not those,they’redreadful!’
-Michèle Worms de Romilly, memories of Debussy as her teacher, 1933. This happened circa
1898-about 6 years after the latest supposed composition date.
Quoted in Roger Nichols, Debussy Remembered, London, Faber and Faber, 1992, 53.
8
Analysis by Eric Tamm, 1982
Source: Eric Alexander Tamm, Tonality and Harmony in the Piano Works of Debussy, MMus Thesis, California State University, 1982. https://scholarworks.calstate.edu/downloads/2801pk25k accessed 20201122
Summary:
▪Analytical approach: Descriptive, “general aspects of tonal and harmonic style”, what the experts say, no consideration of
phrase structure
Page 58: determination of form, description of harmonic vocabulary, and detection of large-scale harmonic patterns
▪Tonality: Home key of E Major, B Section in A Major and C Major, no discussion of how it is established
▪Form: “a very simple ternary form”
[A Section mm 1-38]
B Section mm 39-70
[A’ Section mm 71-107]
Page x: An early work in which harmony functions within classical tonality in a traditional manner
Page 60: Structure controlled by long sweeping ascending and descending lines-Example 3. Verbal description of what is
obvious in the example. Does not recognize modes.
Page 61: Does not agree with E. Robert Schmitz
The opening measures have a descending series of chords in the first inversion spread in arpeggiato; these chords form
abassmelodicsuccessionwhichprogressesfromthefifth,fourth,third,andseconddegreesofthemedievalDorian
modetocometostabilityonitstonalcenterF♯(firstdegreetriad,F♯-A-C♯,measure3).Then,whilethischord
maintainsthetonalstability,Debussycontinuesthedescendingscalethroughmeasures3and4.The modality loses
itself smoothly in the course of measure 5 into dominant harmony which resolves to E major diatonic in measure 6.
(E. Robert Schmitz, The Piano Works of Claude Debussy, p. 44,
https://archive.org/details/pianoworksofclau0000schm/mode/2up accessed 20201122)
Tamm’s analysis:
E Major: ii V I
Page 61: Brailoiu sees the influence of folk song and Wagner in the “saw-toothed” melody of mm. 6-7—a melody which he
offers as an example of pentatonicism. Off course, it is only the eighth-note triplets that can claim to be pentatonic; the
tremendous durational weight given to the D♯in m. 7 rules out the possibility of considering the whole phrase (under the
slur) pentatonic.
Saw-toothed melody
Analysis by Eric Tamm, 1982
Source: Eric Alexander Tamm, Tonality and Harmony in the Piano Works of Debussy, MMus Thesis, California State University, 1982. https://scholarworks.calstate.edu/downloads/2801pk25k accessed 20201122
Summary:
▪Analytical approach: Descriptive, “general aspects of tonal and harmonic style”, what the experts say, no consideration of
phrase structure
Page 58: determination of form, description of harmonic vocabulary, and detection of large-scale harmonic patterns
▪Tonality: Home key of E Major, B Section in A Major and C Major, no discussion of how it is established
▪Form: “a very simple ternary form”
[A Section mm 1-38]
B Section mm 39-70
[A’ Section mm 71-107]
Page x: An early work in which harmony functions within classical tonality in a traditional manner
Page 60: Structure controlled by long sweeping ascending and descending lines-Example 3. Verbal description of what is
obvious in the example. Does not recognize modes.
Page 61: Does not agree with E. Robert Schmitz
The opening measures have a descending series of chords in the first inversion spread in arpeggiato; these chords form
abassmelodicsuccessionwhichprogressesfromthefifth,fourth,third,andseconddegreesofthemedievalDorian
modetocometostabilityonitstonalcenterF♯(firstdegreetriad,F♯-A-C♯,measure3).Then,whilethischord
maintainsthetonalstability,Debussycontinuesthedescendingscalethroughmeasures3and4.The modality loses
itself smoothly in the course of measure 5 into dominant harmony which resolves to E major diatonic in measure 6.
(E. Robert Schmitz, The Piano Works of Claude Debussy, p. 44,
https://archive.org/details/pianoworksofclau0000schm/mode/2up accessed 20201122)
Tamm’s analysis:
E Major: ii V I
Page 61: Brailoiu sees the influence of folk song and Wagner in the “saw-toothed” melody of mm. 6-7—a melody which he
offers as an example of pentatonicism. Off course, it is only the eighth-note triplets that can claim to be pentatonic; the
tremendous durational weight given to the D♯in m. 7 rules out the possibility of considering the whole phrase (under the
slur) pentatonic.
Saw-toothed melody
8
Analysis by Eric Tamm, 1982
V/V
Page 61: The first chromatic alterations in the piece are the A♯’s in mm. 13-16—four measures which
sustain a dominant ninth chord on F♯, (F♯, A♯, C♯, E, G♯ are the only pitches in these measures) that is,
a V/V (II functioning as V/V) …which resolves to IV was to become a Debussy trademark Other
examples to demonstrate that is a “trademark”?
Page 62: mm. 19-31 are tonally very slippery…we can indeed meditate, with Reti and d’Almendra, on
the similarities between Debussy’s tonal sense and that of the sixteenth-century polyphonists.
10
E Major: IV
19
g♯ minor is alluded toaims to E Majorleans toward c♯ minorconcerted move towards A Major (but not really)
28
the tonic force of E Major reasserts itself through end of section
34
E Major: V
7
buildup of dominant tension
Expanded dominant?
39
Modulation?/Half Cadence?
63
Whole-Tone Chord
Suspended tonality
A Major:?
C Major:
87
A Major f♯ minor E Major
minor disturbances
Page 64: Brailoiu calls the ending, mm . 104-106, pentatonic; this is a matter of interpretation.
Perhaps it is simply a tonic chord with a ninth and a thirteenth (or added sixth).
Analysis by Eric Tamm, 1982
V/V
Page 61: The first chromatic alterations in the piece are the A♯’s in mm. 13-16—four measures which
sustain a dominant ninth chord on F♯, (F♯, A♯, C♯, E, G♯ are the only pitches in these measures) that is,
a V/V (II functioning as V/V) …which resolves to IV was to become a Debussy trademark Other
examples to demonstrate that is a “trademark”?
Page 62: mm. 19-31 are tonally very slippery…we can indeed meditate, with Reti and d’Almendra, on
the similarities between Debussy’s tonal sense and that of the sixteenth-century polyphonists.
10
E Major: IV
19
g♯ minor is alluded toaims to E Majorleans toward c♯ minorconcerted move towards A Major (but not really)
28
the tonic force of E Major reasserts itself through end of section
34
E Major: V
7
buildup of dominant tension
Expanded dominant?
39
Modulation?/Half Cadence?
63
Whole-Tone Chord
Suspended tonality
A Major:?
C Major:
87
A Major f♯ minor E Major
minor disturbances
Page 64: Brailoiu calls the ending, mm . 104-106, pentatonic; this is a matter of interpretation.
Perhaps it is simply a tonic chord with a ninth and a thirteenth (or added sixth).
8
Analysis by Roy Howat, 1983
Source: Roy Howat, Debussy in Proportion A Musical Analysis (Cambridge: Cambridge University Press, 1983)
Page 38: As in the earliest songs, proportional correspondences in the earliest piano pieces are
sporadic and incomplete enough to be insignificant. As if to emphasize this, three of the most
successful of them - the two Arabesques, and Danse (originally entitled Tarentelle styrienne), all
published in 1891 - are devoid either of any dramatic element (particularly, they lack any centresof
dramatic focus) or of any sign of consistent proportional structure in their forms. To document this,
their proportions are shown in Fig. 4.31 nothing significant is visible apart from one or two
fragmentary correspondences what are they? that could easily be fortuitous.
▪My analysis aligns with his
▪Up and down arrows do not seem to have any significance other than to point to labels
▪mm 1-16 are repeated as mm 71-7 the reprise (repeat) is mm 71-7 not mm 1-16
▪Does not calculate proportion (ratios of lengths) – just shows them visually
Reprise
[Fr.; also Eng., Ger.]. *Repeat, repetition. The term may refer to either literal or varied repetitions: in
C. P. E. Bach’s Sechs Sonaten fürClavier mit veränderten Reprisen(1760), the “ varied“ repetitions,
here written out, of the expositions of the sonata forms; in 17th-and 18th-century French keyboard
music, the second section of a *binary form, the refrain of a *rondeau, or a short phrase repeated at
the end of a movement; in some accounts of *sonata form, the recapitulation; etc.
Harvard Dictionary of Music, 719
Analysis by Roy Howat, 1983
Source: Roy Howat, Debussy in Proportion A Musical Analysis (Cambridge: Cambridge University Press, 1983)
Page 38: As in the earliest songs, proportional correspondences in the earliest piano pieces are
sporadic and incomplete enough to be insignificant. As if to emphasize this, three of the most
successful of them - the two Arabesques, and Danse (originally entitled Tarentelle styrienne), all
published in 1891 - are devoid either of any dramatic element (particularly, they lack any centresof
dramatic focus) or of any sign of consistent proportional structure in their forms. To document this,
their proportions are shown in Fig. 4.31 nothing significant is visible apart from one or two
fragmentary correspondences what are they? that could easily be fortuitous.
▪My analysis aligns with his
▪Up and down arrows do not seem to have any significance other than to point to labels
▪mm 1-16 are repeated as mm 71-7 the reprise (repeat) is mm 71-7 not mm 1-16
▪Does not calculate proportion (ratios of lengths) – just shows them visually
Reprise
[Fr.; also Eng., Ger.]. *Repeat, repetition. The term may refer to either literal or varied repetitions: in
C. P. E. Bach’s Sechs Sonaten fürClavier mit veränderten Reprisen(1760), the “ varied“ repetitions,
here written out, of the expositions of the sonata forms; in 17th-and 18th-century French keyboard
music, the second section of a *binary form, the refrain of a *rondeau, or a short phrase repeated at
the end of a movement; in some accounts of *sonata form, the recapitulation; etc.
Harvard Dictionary of Music, 719
8
Analysis by Richard Parks, 1989
Summary:
▪Analytical approach: Schenkerian Analysis/Pitch Class Set Analysis
▪Tonality: E Major Parks and other analysts arrive at a home key of E-Major by ignoring the almost
dozen F♯s in mm 1-16. There are multiple F♯ triads/seventh chords in mm 3-5 and the bass line in
mm 1-4 is clearly a descending c♯-minor scale (sub-mediant of E-Major). How can this piece be in
E-Major?
▪Form: A-B-Transition-A-Coda
▪Partitioning scheme is in Proportional Analysis
▪Trivial observations that don’t explain much about how the piece works
▪A few structures are discussed but not how they function or unify the work
▪Proportion: Good proportional analysis
▪GS is not prominent
▪Fibonacci, Lucas and N Series
Source: Richard S. Parks, The Music of Claude Debussy (New Haven: Yale University Press, 1989)
Analysis by Richard Parks, 1989
Summary:
▪Analytical approach: Schenkerian Analysis/Pitch Class Set Analysis
▪Tonality: E Major Parks and other analysts arrive at a home key of E-Major by ignoring the almost
dozen F♯s in mm 1-16. There are multiple F♯ triads/seventh chords in mm 3-5 and the bass line in
mm 1-4 is clearly a descending c♯-minor scale (sub-mediant of E-Major). How can this piece be in
E-Major?
▪Form: A-B-Transition-A-Coda
▪Partitioning scheme is in Proportional Analysis
▪Trivial observations that don’t explain much about how the piece works
▪A few structures are discussed but not how they function or unify the work
▪Proportion: Good proportional analysis
▪GS is not prominent
▪Fibonacci, Lucas and N Series
Source: Richard S. Parks, The Music of Claude Debussy (New Haven: Yale University Press, 1989)
8
Analysis by Richard Parks, 1989
Page 6:
Introduction
a
10
b
17
c
26
d
A
39
e e47
f f
▪Motivic/thematic segmentation-a, b, c, d, e (he does not differentiate between motive and
theme)
▪Segmentation logic is on proportion diagram
▪Follows Debussy’s Sections up to mm 63-inference: He is referring to his analytical
segments as “Sections”
Analysis by Richard Parks, 1989
Page 6:
Introduction
a
10
b
17
c
26
d
A
39
e e47
f f
▪Motivic/thematic segmentation-a, b, c, d, e (he does not differentiate between motive and
theme)
▪Segmentation logic is on proportion diagram
▪Follows Debussy’s Sections up to mm 63-inference: He is referring to his analytical
segments as “Sections”
21
Analysis by Richard Parks, 1989
Page 4: Urlinie is exceptional (not usually found
in Debussy’s music)
Page 5: Of special significance among the
work’s structural tonal conventions is the
presence of a complete Urlinie(from scale
degree 3, g
♯2
), with replications at lower
structural levels (see mm. 95-99 in the
middleground graph of example 1.2 and, for
lower-level descents to tonic, mm. 17-18 and
23-38 in example 1.1)
Page 9: The first “Arabesque" is replete with
passing diminutions and linear progressions that
control local events and those of longer spans.
How? Examples of the latter may be found in
mm. 17-26, which contain stepwise parallel
sixths in the outer parts.
Passing diminutions span octaves in mm. 1-4 (in
the bass) and 39-40 (in the soprano), and a
twelfth in mm. 34-37 (in the soprano). The
outer-voice octave couplings in contrary motion
in mm. 1-4 complement each other and expand
the registral space from a sixth to a twenty-first.
How do pairs of C♯-A support E-major?
Page 9: An important structural motive occurs
at all levels (labeled "X" in the voice-leading
graphs): a tetrachord whose most prominent
form is initially stated in mm. 5-6 (a
2
-g
♯2
-f
♯2
-e
2
,
identified in the middleground graph of ex.
1.1).
6
It is easily seen in the foreground of mm. I
7- 1 8 (same pitches, ex. 1.1) and in the deep
middleground of mm. 95-99 (ex. 1.2).
Analysis by Richard Parks, 1989
Page 4: Urlinie is exceptional (not usually found
in Debussy’s music)
Page 5: Of special significance among the
work’s structural tonal conventions is the
presence of a complete Urlinie(from scale
degree 3, g
♯2
), with replications at lower
structural levels (see mm. 95-99 in the
middleground graph of example 1.2 and, for
lower-level descents to tonic, mm. 17-18 and
23-38 in example 1.1)
Page 9: The first “Arabesque" is replete with
passing diminutions and linear progressions that
control local events and those of longer spans.
How? Examples of the latter may be found in
mm. 17-26, which contain stepwise parallel
sixths in the outer parts.
Passing diminutions span octaves in mm. 1-4 (in
the bass) and 39-40 (in the soprano), and a
twelfth in mm. 34-37 (in the soprano). The
outer-voice octave couplings in contrary motion
in mm. 1-4 complement each other and expand
the registral space from a sixth to a twenty-first.
How do pairs of C♯-A support E-major?
Page 9: An important structural motive occurs
at all levels (labeled "X" in the voice-leading
graphs): a tetrachord whose most prominent
form is initially stated in mm. 5-6 (a
2
-g
♯2
-f
♯2
-e
2
,
identified in the middleground graph of ex.
1.1).
6
It is easily seen in the foreground of mm. I
7- 1 8 (same pitches, ex. 1.1) and in the deep
middleground of mm. 95-99 (ex. 1.2).
22
While Debussy thus observes obligatory register, the effect is of an afterthought, and his handling of this
tonal convention may serve more to indulge his fondness for assigning a prominent motive (here the
descending tetrachord motive "X") to a specific register (he uses it in multiple registers), only to change
it as a harbinger of an important formal event-in this case, the composition's conclusion.
And while there is an Ursatz setting an Urlinie, the head tone is by no means obvious. Indeed, the
descending tetrachord a
2
-g
♯2
-f
♯2
-e
2
is so prominent, and a
2
so well supported by the dominant, that one
may be tempted to infer b
2
(5) as an implied structural antecedent (though subsequent events do not
confirm such a reading).
Page 9: It occurs in many transpositions throughout the piece, as in the bass's foreground octave
progression in mm. 1-4, which is partitioned into two tetrachords by a change in figuration (ex. 1.1;
transposition forms of the motive are labeled "X
t"), and in the middleground of mm. 46-49 (ex. 1.3).
It also occurs in the foreground diminutions of mm. 47-1g. It links formal units, such as the
Introduction and Theme A at the beginning of section 1 (refer to figure 1.1 and the middleground
graph of example 1.2). The new section in chordal style that begins in m. 39 reveals several
occurrences, including ascending
Page 10:
and descending tetrachords at various transpositions; some of these may be seen in the foreground
graph of example 1.1.
All chromaticism serves either to tonicize or enrich the underlying diatonic tonal structure. For
example, the striking change to the remote key of C major in mm. 63-69 of transitional section 3 can
be understood as a harmonic modal mixture that prolongs the structural E in the bass (ex. 1.2).
Unconventional Features
The first “Arabesque” exhibits a number of unconventional tonal features. Contradicts Page 5, “the
very square and blatantly articulated phrasing, for example, and the pervasive use of traditional
harmonic progressions and cadences at phrase and period endings” To begin with, while there are
indeed numerous linear progressions, the middle-ground is relatively impoverished compared with
eighteenth- and nineteenth-century masterworks. Also, the emphasis on neighbor-note motion
throughout the work leads, at times, to novel voice-leading harmonies (the V
9
of V, for example, at
m. 25). In m. 39 there is a voice exchange of C for D-notes that lie a step apart (a device associated
more with composers of the next generation)
7
-and such exchanges recur several times thereafter.
What is it’s significance?
The subdominant scale step occupies a special role in the first “Arabesque” (and, as we shall see, in
the rest of Debussy's oeuvre). The composer constantly exploits its potential for functional ambiguity
vis-à-vis the tonic (where E-to-A can mean I-IV or V-I). The subdominant is tonicized in mm. 39-62
(emphasized graphically by a change of key signature from four sharps to three); within this section,
E, acting now as dominant, is itself tonicized by the reinsertion of D♯ (mm. 40-41, 44-45, and
especially 59-62), a feature which only heightens the ambiguity that surrounds these two pcs. The
subdominant also initiates the descending tetrachordal motive, a
2
-g
♯2
-f
♯2
-e
2
.
Although the head tone is initially articulated (in m. 7) at the register in which the Urlinie descent
finally occurs, it is prolonged throughout most of the piece in a higher register (see ex. 1.2, mm. 6,
15-85, and 97-99); indeed, one could imagine the piece ending in this higher register (in which case
the initial placement of g
♯1
in m. 7 would serve as a delaying prolongation).
Analysis by Richard Parks, 1989
Theme [Fr. thème; Ger. Thema; It., Sp.
tema]. A musical idea, usually a melody,
that forms the basis or starting point for a
composition or a major section of one.
Although the terms theme and *subject are
sometimes used interchangeably, as in the
context of *sonata form, theme often
(though only since the 19
th
century) implies
something slightly longer and more self-
contained than subject. In the context of
theme and *variations, it usually refers to
an entirely self-contained melody or short
piece.
Randel, Don Michael. 2003.The Harvard
dictionary of music. Cambridge, Mass:
Belknap Press of Harvard University Press,
878.
Page 307:Debussy's tendency to fix themes in
specific registers and to reassign them near the
end appears quite early. In the first “Arabesque,”
the theme that follows the brief introduction (m.
6) reappears for the last time (m. 99) one octave
higher (ex. 14.1H).
While Debussy thus observes obligatory register, the effect is of an afterthought, and his handling of this
tonal convention may serve more to indulge his fondness for assigning a prominent motive (here the
descending tetrachord motive "X") to a specific register (he uses it in multiple registers), only to change
it as a harbinger of an important formal event-in this case, the composition's conclusion.
And while there is an Ursatz setting an Urlinie, the head tone is by no means obvious. Indeed, the
descending tetrachord a
2
-g
♯2
-f
♯2
-e
2
is so prominent, and a
2
so well supported by the dominant, that one
may be tempted to infer b
2
(5) as an implied structural antecedent (though subsequent events do not
confirm such a reading).
Page 9: It occurs in many transpositions throughout the piece, as in the bass's foreground octave
progression in mm. 1-4, which is partitioned into two tetrachords by a change in figuration (ex. 1.1;
transposition forms of the motive are labeled "X
t"), and in the middleground of mm. 46-49 (ex. 1.3).
It also occurs in the foreground diminutions of mm. 47-1g. It links formal units, such as the
Introduction and Theme A at the beginning of section 1 (refer to figure 1.1 and the middleground
graph of example 1.2). The new section in chordal style that begins in m. 39 reveals several
occurrences, including ascending
Page 10:
and descending tetrachords at various transpositions; some of these may be seen in the foreground
graph of example 1.1.
All chromaticism serves either to tonicize or enrich the underlying diatonic tonal structure. For
example, the striking change to the remote key of C major in mm. 63-69 of transitional section 3 can
be understood as a harmonic modal mixture that prolongs the structural E in the bass (ex. 1.2).
Unconventional Features
The first “Arabesque” exhibits a number of unconventional tonal features. Contradicts Page 5, “the
very square and blatantly articulated phrasing, for example, and the pervasive use of traditional
harmonic progressions and cadences at phrase and period endings” To begin with, while there are
indeed numerous linear progressions, the middle-ground is relatively impoverished compared with
eighteenth- and nineteenth-century masterworks. Also, the emphasis on neighbor-note motion
throughout the work leads, at times, to novel voice-leading harmonies (the V
9
of V, for example, at
m. 25). In m. 39 there is a voice exchange of C for D-notes that lie a step apart (a device associated
more with composers of the next generation)
7
-and such exchanges recur several times thereafter.
What is it’s significance?
The subdominant scale step occupies a special role in the first “Arabesque” (and, as we shall see, in
the rest of Debussy's oeuvre). The composer constantly exploits its potential for functional ambiguity
vis-à-vis the tonic (where E-to-A can mean I-IV or V-I). The subdominant is tonicized in mm. 39-62
(emphasized graphically by a change of key signature from four sharps to three); within this section,
E, acting now as dominant, is itself tonicized by the reinsertion of D♯ (mm. 40-41, 44-45, and
especially 59-62), a feature which only heightens the ambiguity that surrounds these two pcs. The
subdominant also initiates the descending tetrachordal motive, a
2
-g
♯2
-f
♯2
-e
2
.
Although the head tone is initially articulated (in m. 7) at the register in which the Urlinie descent
finally occurs, it is prolonged throughout most of the piece in a higher register (see ex. 1.2, mm. 6,
15-85, and 97-99); indeed, one could imagine the piece ending in this higher register (in which case
the initial placement of g
♯1
in m. 7 would serve as a delaying prolongation).
Analysis by Richard Parks, 1989
Theme [Fr. thème; Ger. Thema; It., Sp.
tema]. A musical idea, usually a melody,
that forms the basis or starting point for a
composition or a major section of one.
Although the terms theme and *subject are
sometimes used interchangeably, as in the
context of *sonata form, theme often
(though only since the 19
th
century) implies
something slightly longer and more self-
contained than subject. In the context of
theme and *variations, it usually refers to
an entirely self-contained melody or short
piece.
Randel, Don Michael. 2003.The Harvard
dictionary of music. Cambridge, Mass:
Belknap Press of Harvard University Press,
878.
Page 307:Debussy's tendency to fix themes in
specific registers and to reassign them near the
end appears quite early. In the first “Arabesque,”
the theme that follows the brief introduction (m.
6) reappears for the last time (m. 99) one octave
higher (ex. 14.1H).
23
Analysis by Richard Parks, 1989
that immediately follows the sole metric anomaly-a bar of 2|4 in the otherwise
consistent 4|4. The Golden Section does not coincide with important partitions in
the ternary scheme, but several summation series appear at the level of detail
generated by the phrasing irregularities. Two involve the Lucas series and are
shown on the lower schemata of figure 10.3: the first is embedded in the principal
theme of the A section (mm.6-16); the second spans the entire B section and
extends across the reprise as well, up to m. 95, the bar that is conspicuous as the
site of the composition's only meter change and its only elision. The A sections are
proportioned by Fibonacci ratios (ignore introductory mm. I -5 and 7l-7 5); the first
is inaccurate by one measure, the reprise by one beat (the counts exclude the last
bar, which is empty after beat l). The difference is the 2/4 bar in the reprise (m.
94), which shortens sufficiently the overall span so that the proportions, measured
in quarter notes, are more precise. If these schemes were imposed deliberately,
then the inaccuracies and adjustments suggest a quality of experimentation. That
impression is reinforced by the presence of a scheme based on the N series
,5,4,9,13,22,. . . , which spans the reprise within the first A section.
Page 214: The conservative idiom of Debussy's earliest published
piano piece, the first “Arabesque” (1888), extends to its formal
construction: a symmetrically proportioned ternary scheme
subdivided pervasively into four-bar phrases (especially in the B
section; see fig. 10.3). There are, however, numerous irregularities in
the form of pre-extensions (of phrases that begin at mm. 21, 95),
post-extensions (mm. l, 26,71,80, 91), and insertions (m. 103). There
is also an elision (m. 95)
Analysis by Richard Parks, 1989
that immediately follows the sole metric anomaly-a bar of 2|4 in the otherwise
consistent 4|4. The Golden Section does not coincide with important partitions in
the ternary scheme, but several summation series appear at the level of detail
generated by the phrasing irregularities. Two involve the Lucas series and are
shown on the lower schemata of figure 10.3: the first is embedded in the principal
theme of the A section (mm.6-16); the second spans the entire B section and
extends across the reprise as well, up to m. 95, the bar that is conspicuous as the
site of the composition's only meter change and its only elision. The A sections are
proportioned by Fibonacci ratios (ignore introductory mm. I -5 and 7l-7 5); the first
is inaccurate by one measure, the reprise by one beat (the counts exclude the last
bar, which is empty after beat l). The difference is the 2/4 bar in the reprise (m.
94), which shortens sufficiently the overall span so that the proportions, measured
in quarter notes, are more precise. If these schemes were imposed deliberately,
then the inaccuracies and adjustments suggest a quality of experimentation. That
impression is reinforced by the presence of a scheme based on the N series
,5,4,9,13,22,. . . , which spans the reprise within the first A section.
Page 214: The conservative idiom of Debussy's earliest published
piano piece, the first “Arabesque” (1888), extends to its formal
construction: a symmetrically proportioned ternary scheme
subdivided pervasively into four-bar phrases (especially in the B
section; see fig. 10.3). There are, however, numerous irregularities in
the form of pre-extensions (of phrases that begin at mm. 21, 95),
post-extensions (mm. l, 26,71,80, 91), and insertions (m. 103). There
is also an elision (m. 95)
24
Analysis by Tomás Gilabert Giner, 2014
Source: https://www.youtube.com/watch?v=qgHt3R8YKh0 accessed 20201203
Tomás Gilabert Giner, profesorde análisismusical del ConservatorioSuperior de Música de Valencia
(CSMV) https://www.youtube.com/user/musicnetmaterials/about
[email protected]
These fragments appear to be materials for a course in Music Theory with supplemental information
on his blog-musicnetmaterials.wordpress.com
Source: https://www.youtube.com/watch?v=Qc62Yz5x9LU accessed 20201203
Debussy. Arabesca nº1. Sección Central. Análisis Musical del primer periodo.
Analysis by Tomás Gilabert Giner, 2014
Source: https://www.youtube.com/watch?v=qgHt3R8YKh0 accessed 20201203
Tomás Gilabert Giner, profesorde análisismusical del ConservatorioSuperior de Música de Valencia
(CSMV) https://www.youtube.com/user/musicnetmaterials/about
[email protected]
These fragments appear to be materials for a course in Music Theory with supplemental information
on his blog-musicnetmaterials.wordpress.com
Source: https://www.youtube.com/watch?v=Qc62Yz5x9LU accessed 20201203
Debussy. Arabesca nº1. Sección Central. Análisis Musical del primer periodo.
harmonic exploration
8
Analysis by Amy King, 2019
Source: h t t p s : / / g i r l i n b l u e m u s i c . c o m / 2 0 1 9 / 0 7 / 0 8 / c r e a t i n g-m a g i c-d e b u s s y s-a r a b e s q u e-no-1 / a c c e s s e d 2 0 2 0 1 0 1 3
Summary:
▪Analytical approach: high-level harmonic and thematic analysis
▪Treats harmony in each hand independently
▪Three-section form, middle section is “developmental”
Impressionism, with its focus on color over form, doesn’t use traditional functional harmony, which
means the composerdoesnotseektogofromdominant(V)totonic(I). In this arabesque, Debussy
favors more back and forth motion, alternating between only two chords for long stretches of time.
Perhaps this is why his music is reminiscent of ocean waves on the shore.
For example, in the main theme that first appears in measure 6, the left hand arpeggiates an E major
chord, then C#/E [c♯-minor maybe?], back to E major, then C#/E again.
After this, at the end of the first full section (mm. 14-16), the harmony alternates between F#
maj7/C# and A# maj7 before leading back to the figure in A major [A-Major with D♯?] that begins the
piece.
Then he’s got some harmonic exploration with some chromatics (chords that are not part of the key,
E major)
the piece does go on [Section 2], in a different key, B minor in the harmony. It’s tough to determine a
key here; according to the key signature, it’d be A major or F# minor. It certainly seems closer to F#
minor, but this is definitely a developmental section that explores [Harmony?]even more than the
previous section.
mm 1-2: and the later versions of it, with the half-note descending scale, act as bookends for each
section of music.
mm. 17-18: followed by an exploratory section, where there isn’t a clear key center… the section
ends with an E suspension that resolves to E major.
mm. 39-41: a clear key change; even the key signature changes to A major or F# minor
mm 97-107: a delightful and cheery coda section built of the material from the beginning
The entire piece ends clearly with a repeated E major triad
Main Theme
E major C#/E
F# maj7/C#A# maj7
A-Major
E Major: VII
9
III
7
v
9
Pentatonic
17
95
some lovely extended chords in arpeggios spanning [something] used to slow the piece to a close
Phrase in mm 6-9 “marks off
sections and fundamentally
drives the piece. The motion
then, comes from the melody
itself. Its descent, or fall, is what
drives the piece forward, which
is why, despite being built from a
still scale, Debussy cannot end
the piece with this motif.”
8
Analysis by Amy King, 2019
Source: h t t p s : / / g i r l i n b l u e m u s i c . c o m / 2 0 1 9 / 0 7 / 0 8 / c r e a t i n g-m a g i c-d e b u s s y s-a r a b e s q u e-no-1 / a c c e s s e d 2 0 2 0 1 0 1 3
Summary:
▪Analytical approach: high-level harmonic and thematic analysis
▪Treats harmony in each hand independently
▪Three-section form, middle section is “developmental”
Impressionism, with its focus on color over form, doesn’t use traditional functional harmony, which
means the composerdoesnotseektogofromdominant(V)totonic(I). In this arabesque, Debussy
favors more back and forth motion, alternating between only two chords for long stretches of time.
Perhaps this is why his music is reminiscent of ocean waves on the shore.
For example, in the main theme that first appears in measure 6, the left hand arpeggiates an E major
chord, then C#/E [c♯-minor maybe?], back to E major, then C#/E again.
After this, at the end of the first full section (mm. 14-16), the harmony alternates between F#
maj7/C# and A# maj7 before leading back to the figure in A major [A-Major with D♯?] that begins the
piece.
Then he’s got some harmonic exploration with some chromatics (chords that are not part of the key,
E major)
the piece does go on [Section 2], in a different key, B minor in the harmony. It’s tough to determine a
key here; according to the key signature, it’d be A major or F# minor. It certainly seems closer to F#
minor, but this is definitely a developmental section that explores [Harmony?]even more than the
previous section.
mm 1-2: and the later versions of it, with the half-note descending scale, act as bookends for each
section of music.
mm. 17-18: followed by an exploratory section, where there isn’t a clear key center… the section
ends with an E suspension that resolves to E major.
mm. 39-41: a clear key change; even the key signature changes to A major or F# minor
mm 97-107: a delightful and cheery coda section built of the material from the beginning
The entire piece ends clearly with a repeated E major triad
Main Theme
E major C#/E
F# maj7/C#A# maj7
A-Major
E Major: VII
9
III
7
v
9
Pentatonic
17
95
some lovely extended chords in arpeggios spanning [something] used to slow the piece to a close
Phrase in mm 6-9 “marks off
sections and fundamentally
drives the piece. The motion
then, comes from the melody
itself. Its descent, or fall, is what
drives the piece forward, which
is why, despite being built from a
still scale, Debussy cannot end
the piece with this motif.”
8
Analysis by Amy King, 2019
Another melody of note comes from the very beginning, the first two measures:
Debussy, Arabesque No. 1, mm. 1-2
At first, it seems like the melody is quick, like it could be every note in every triplet, but at its second
entrance, we get a better glimpse at the actual overlying melody.
Debussy, Arabesque No. 1, mm. 17-18
In every entrance after the first one, we see a descending series of half notes: , G#, F#, E: a lovely and
simple melody that was actually hidden in the beginning. If you look carefully you’ll see an A within
the first triplet, a G# within the third triplet, an F# within the first triplet of the second measure, and
an E within the third triplet of the second measure:
Debussy, Arabesque No. 1 with melody highlighted
The takeaway here is that despite sounding more atmospheric than most classical motif-driven
pieces,melodystillplaysafundamentalroleinthispiece.
Amy King:Bachelor of Arts in Piano Performance and English Literaturefrom High Point University
andMaster of Music in Music Theoryfrom Northwestern University
Analysis by Amy King, 2019
Another melody of note comes from the very beginning, the first two measures:
Debussy, Arabesque No. 1, mm. 1-2
At first, it seems like the melody is quick, like it could be every note in every triplet, but at its second
entrance, we get a better glimpse at the actual overlying melody.
Debussy, Arabesque No. 1, mm. 17-18
In every entrance after the first one, we see a descending series of half notes: , G#, F#, E: a lovely and
simple melody that was actually hidden in the beginning. If you look carefully you’ll see an A within
the first triplet, a G# within the third triplet, an F# within the first triplet of the second measure, and
an E within the third triplet of the second measure:
Debussy, Arabesque No. 1 with melody highlighted
The takeaway here is that despite sounding more atmospheric than most classical motif-driven
pieces,melodystillplaysafundamentalroleinthispiece.
Amy King:Bachelor of Arts in Piano Performance and English Literaturefrom High Point University
andMaster of Music in Music Theoryfrom Northwestern University
Comments by Other Writers
Author(s) Comments Source
Louisa (a.k.a. Louise) Liebich
First biographer of Debussy. Her book includes some analytical
observations. She and her husband Frank (Franz) Liebich were
friends of Debussy. Frank Liebich premiered some of Debussy’s
Preludés. Debussy thought highly of Frank Liebich and expressed
a desire the read Louise’s book in a letter to George Aubry (no
confirmation that he did read it).
Page 8: Quotes Debussy on Arabesques in Palestrina, Lassus, Bach
Page 48: Discussion of Fêtes-the frequent recurrence of the
ternary arabesque, which is a favorite device of the composer,
gives the printed score a likeness to the art of the goldsmith.
Louise Liebich (Mrs. Franz Liebich), Claude-Achille Debussy,
London/New York: John Lane Company, 1908 at
https://archive.org/details/claudeachilledeb00lieb/page/n9/mode
/2up accessed June 21, 2020.
Her name is spelled Louise at the end of the Author’s Note dated
1907
Guido Gatti and Frederick Martens
Guido Maggiorino Gatti(1892–1973)
Italian music critic and founder of the journalIl Pianoforte.
Director of Turin Theater from 1925–31 and general director of
the firstMaggio Musicale Fiorentino. Contributor to several
Italian musical encyclopedias and other reference works,
monographs onBizet(1915) andPizzetti(1934). His fifty-eight-
year correspondence withMalipierohas been published.
Contributor to Grove’s Dictionary of Music and Musicians(under
the initials G.M.G.), 1954 (fifth) edition.
Page 424: I confess my admiration for these compositions
[Arabesques, Mazurka, Rêverie, Suite Bergmasque] though the
latter-day Debussyisteshave but contempt for them.
Guido Gatti and Frederick Martens. "The Piano Works of Claude
Debussy." The Musical Quarterly 7, no. 3 (1921): 418-60, p.444.
Accessed November 19, 2019. www.jstor.org/stable/738116.
https://en.wikipedia.org/wiki/Guido_Gatti
Harry Halbreich (1931-2016)
Belgian musicologist and radio producer. Studied at Vienna and
Paris Conservatories with Honegger and Messiaen. Cataloged
works of Honegger and Martinu.
From obituary in Le Monde, June 30, 2016.
Refer to extract
https://www.lemonde.fr/disparitions/article/2016/07/01/mort-d-
harry-halbreich-musicologue-belge_4962041_3382.html Accessed
June 14, 2020
27
Author(s) Comments Source
Louisa (a.k.a. Louise) Liebich
First biographer of Debussy. Her book includes some analytical
observations. She and her husband Frank (Franz) Liebich were
friends of Debussy. Frank Liebich premiered some of Debussy’s
Preludés. Debussy thought highly of Frank Liebich and expressed
a desire the read Louise’s book in a letter to George Aubry (no
confirmation that he did read it).
Page 8: Quotes Debussy on Arabesques in Palestrina, Lassus, Bach
Page 48: Discussion of Fêtes-the frequent recurrence of the
ternary arabesque, which is a favorite device of the composer,
gives the printed score a likeness to the art of the goldsmith.
Louise Liebich (Mrs. Franz Liebich), Claude-Achille Debussy,
London/New York: John Lane Company, 1908 at
https://archive.org/details/claudeachilledeb00lieb/page/n9/mode
/2up accessed June 21, 2020.
Her name is spelled Louise at the end of the Author’s Note dated
1907
Guido Gatti and Frederick Martens
Guido Maggiorino Gatti(1892–1973)
Italian music critic and founder of the journalIl Pianoforte.
Director of Turin Theater from 1925–31 and general director of
the firstMaggio Musicale Fiorentino. Contributor to several
Italian musical encyclopedias and other reference works,
monographs onBizet(1915) andPizzetti(1934). His fifty-eight-
year correspondence withMalipierohas been published.
Contributor to Grove’s Dictionary of Music and Musicians(under
the initials G.M.G.), 1954 (fifth) edition.
Page 424: I confess my admiration for these compositions
[Arabesques, Mazurka, Rêverie, Suite Bergmasque] though the
latter-day Debussyisteshave but contempt for them.
Guido Gatti and Frederick Martens. "The Piano Works of Claude
Debussy." The Musical Quarterly 7, no. 3 (1921): 418-60, p.444.
Accessed November 19, 2019. www.jstor.org/stable/738116.
https://en.wikipedia.org/wiki/Guido_Gatti
Harry Halbreich (1931-2016)
Belgian musicologist and radio producer. Studied at Vienna and
Paris Conservatories with Honegger and Messiaen. Cataloged
works of Honegger and Martinu.
From obituary in Le Monde, June 30, 2016.
Refer to extract
https://www.lemonde.fr/disparitions/article/2016/07/01/mort-d-
harry-halbreich-musicologue-belge_4962041_3382.html Accessed
June 14, 2020
27
Comments by Other Writers
Blair Johnston
Many of the hallmarks ofDebussy's mature pianistic style are
evident in the Arabesques, particularly in the first.Debussy's love
of parallel chords -- in this case, triads in first inversion (they aren’t
triads and they aren’t inversions) -- is apparent in the arpeggiation
which opens the first Arabesque, and even more so when the
same figuration recurs at much greater length toward the end of
the piece. The music unfolds in an ABA form whose tonal scheme
hinges on dominant harmonies with the addition of ninths and the
occasional thirteenth. The first and third sections, more
atmospheric than thematic, are characterized by the sort of rolling
left-hand accompaniment that figures so prominently in the
composer's later piano music. The A major middle section,
foreshadowed by the work's opening triad, is both shorter and
more thematically organized than its neighbors, though its primary
melody is actually the inversion of a subsidiary motive from the A
section. (need to explore this)
https://www.allmusic.com/composition/arabesques-2-for-piano-l-
74-66-mc0002396137 accessed January 15, 2021
28
Blair Johnston
Many of the hallmarks ofDebussy's mature pianistic style are
evident in the Arabesques, particularly in the first.Debussy's love
of parallel chords -- in this case, triads in first inversion (they aren’t
triads and they aren’t inversions) -- is apparent in the arpeggiation
which opens the first Arabesque, and even more so when the
same figuration recurs at much greater length toward the end of
the piece. The music unfolds in an ABA form whose tonal scheme
hinges on dominant harmonies with the addition of ninths and the
occasional thirteenth. The first and third sections, more
atmospheric than thematic, are characterized by the sort of rolling
left-hand accompaniment that figures so prominently in the
composer's later piano music. The A major middle section,
foreshadowed by the work's opening triad, is both shorter and
more thematically organized than its neighbors, though its primary
melody is actually the inversion of a subsidiary motive from the A
section. (need to explore this)
https://www.allmusic.com/composition/arabesques-2-for-piano-l-
74-66-mc0002396137 accessed January 15, 2021
28
Composition
Dates
Author Comments Source
Claude Debussy The autograph is not dated (contains both Arabesques).
The assignment of rights to Durand is dated April 11, 1891
Correspondance , 100
https://gallica.bnf.fr/ark:/12148/btv1b55006565c?rk=6566556;0
Earlier than 1888Richard Parks Although most sources give 1888 as the dates for the two
Arabesques, the style of these pieces suggests that they were
composed earlier (the very square and blatantly articulated
phrasing, for example, and the pervasive use of traditional
harmonic progressions and cadences at phrase and period
endings). The chord grammar and progressions do not support his
assertion, “pervasive use of traditional harmonic progressions and
cadences at phrase and period endings”. There is only ONE
unambiguous E-Major triad and one, somewhat disguised,
authentic cadence on E (mm 5-6) in the first 16 measures. The
harmonic progressions in E Major are anything but traditional.
(Page 336, Note 4) He gives only one source-”Lesure [1977?]
expresses doubt, remarking that it is attested neither in writing
nor by witnesses.”
Richard S. Parks, The Music of Claude Debussy (New Haven: Yale
University Press, 1989)
1888-1891 Blair Johnston https://www.allmusic.com/composition/arabesques-2-for-piano-l-
74-66-mc0002396137 accessed January 15, 2021
1890-1891 Centre de Documentation Claude Debussy https://web.archive.org/web/20200518110027/http://www.debu
ssy.fr/encd/catalog/works_74.php accessed January 15, 2021 (the
Website of Centre de Documentation Claude Debussy has been off
line for several months)
1890 Wikipedia https://en.wikipedia.org/wiki/List_of_compositions_by_Claude_D
ebussy accessed January 15, 2021
29
Dates
Author Comments Source
Claude Debussy The autograph is not dated (contains both Arabesques).
The assignment of rights to Durand is dated April 11, 1891
Correspondance , 100
https://gallica.bnf.fr/ark:/12148/btv1b55006565c?rk=6566556;0
Earlier than 1888Richard Parks Although most sources give 1888 as the dates for the two
Arabesques, the style of these pieces suggests that they were
composed earlier (the very square and blatantly articulated
phrasing, for example, and the pervasive use of traditional
harmonic progressions and cadences at phrase and period
endings). The chord grammar and progressions do not support his
assertion, “pervasive use of traditional harmonic progressions and
cadences at phrase and period endings”. There is only ONE
unambiguous E-Major triad and one, somewhat disguised,
authentic cadence on E (mm 5-6) in the first 16 measures. The
harmonic progressions in E Major are anything but traditional.
(Page 336, Note 4) He gives only one source-”Lesure [1977?]
expresses doubt, remarking that it is attested neither in writing
nor by witnesses.”
Richard S. Parks, The Music of Claude Debussy (New Haven: Yale
University Press, 1989)
1888-1891 Blair Johnston https://www.allmusic.com/composition/arabesques-2-for-piano-l-
74-66-mc0002396137 accessed January 15, 2021
1890-1891 Centre de Documentation Claude Debussy https://web.archive.org/web/20200518110027/http://www.debu
ssy.fr/encd/catalog/works_74.php accessed January 15, 2021 (the
Website of Centre de Documentation Claude Debussy has been off
line for several months)
1890 Wikipedia https://en.wikipedia.org/wiki/List_of_compositions_by_Claude_D
ebussy accessed January 15, 2021
29
Composition
Dates
Author Comments Source
Not before 1890Ernst-Günter Heinemann Ever since the appearance of Jean-Aubrey’s [Georges/Gérard Jean-
Aubry pen-name ofJean-Frédéric-Emile Aubry(1882-1950)]
Catalog [no such catalog listed in his works], the year in which the
Deux Arabesqes were composed has been quoted in all
subsequent classifications of works as being 1888 although
publication was not effected until 1891.
The autograph is undated and signed Cl. A. Debussy (In pencil not
Debussy’s hand “C.A. Debussy”.): Owing to Debussy not having
used the first names Claude Achille until the end of 1889 [nicht
wahr see Correspondance, p. 2212-3] , it may be assumed that the
Arabesques were not composed before 1890.
He may be right-the signature on the autograph matches an
example in Correspondancethat would date it between 1891-92
Claude Debussy, Piano Works, volume 1, Munich: G. Henle Verlag,
2011, x
30
This volume also contains a reproduction of the cover page
of La Damoiselle élue with Debussy’s cypher/monogram
on the lower right “CAD” contradicting Heinemann…
My opinion is that Debussy’s evolving signature (and music)
over his lifetime reflects his personal journey of finding
himself at the moment it was signed/composed and should
be left at that…
All that we can be certain of more than a hundred years
later is that it was composed before April 11, 1891.
Dates
Author Comments Source
Not before 1890Ernst-Günter Heinemann Ever since the appearance of Jean-Aubrey’s [Georges/Gérard Jean-
Aubry pen-name ofJean-Frédéric-Emile Aubry(1882-1950)]
Catalog [no such catalog listed in his works], the year in which the
Deux Arabesqes were composed has been quoted in all
subsequent classifications of works as being 1888 although
publication was not effected until 1891.
The autograph is undated and signed Cl. A. Debussy (In pencil not
Debussy’s hand “C.A. Debussy”.): Owing to Debussy not having
used the first names Claude Achille until the end of 1889 [nicht
wahr see Correspondance, p. 2212-3] , it may be assumed that the
Arabesques were not composed before 1890.
He may be right-the signature on the autograph matches an
example in Correspondancethat would date it between 1891-92
Claude Debussy, Piano Works, volume 1, Munich: G. Henle Verlag,
2011, x
30
This volume also contains a reproduction of the cover page
of La Damoiselle élue with Debussy’s cypher/monogram
on the lower right “CAD” contradicting Heinemann…
My opinion is that Debussy’s evolving signature (and music)
over his lifetime reflects his personal journey of finding
himself at the moment it was signed/composed and should
be left at that…
All that we can be certain of more than a hundred years
later is that it was composed before April 11, 1891.
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