An analysis of the style of and

compositional ideas of
Debussy’s Preludes Book 1,
nos. 2, 3, 6, 7
Honours Project (Lecture demonstration)

THE HONG KONG ACADEMY FOR PERFORMING ARTS

SCHOOL OF MUSIC

Wong Yik Tai BMus4

A15066

Supervisor: : Professor Dr. Grace Yu

Year: 2018-2019

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 Table of Contents

Section 1.0 - Background of Debussy’s preludes

1.1 The new idea of Debussy’ s Préludes----------------------------------------------------3

1.2 Music and Words-------------------------------------------------------------------------3
1.3 Characteristics of Debussy’s Préludes--------------------------------------------------4
1.4 Focus of the this project------------------------------------------------------------------4

Section 2.0 - Analysis of selected preludes

2.1Voiles (Book 1, no.2)----------------------------------------------------------------------5

2.2Le vent dans la plaine (Book 1, no.3)---------------------------------------------------7
2.3Ce qu’a vu le vent d’ouest (Book 1 , no.7)----------------------------------------------12
2.4Des pas sur la neige (Book 1 , no.6)----------------------------------------------------19

Section 3.0 - Conclusion & Bibliography

3.1 Conclusion -------------------------------------------------------------------------------22

3.2 Bibliography------------------------------------------------------------------------------23

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The new idea of Debussy’ s Préludes

There are twenty-four Preludes in total and was divided into two books and written
between 1909 and 1913. Book I was written between December 1909 and February
1910. Each books were written in several months, an unusually fast pace for the
composer.

The preludes don’t follow the idea of using the twenty-four keys in any particular
order, for instance, Bach, Chopin and Scriabin. However, Composer looked back the
tradition in his country: close relationship of music and words. Also, he looked back
on Couperin, Rameau, Berlioz, Boulez, who wrote their own texts, employed
descriptive titles about music.

Music and Words

In the Paris of late nineteenth and early twentieth centuries, composers found an
atmosphere of artistic ferment, nourished primarily by the literary figures of the
circle that met regularly at such places as the Chat Noir. They projected heretofore
unseen lights onto the words through new tone and new sounds. Also, conceived
their verses or prose like musicians.

Debussy became involved in a number of literary circles, particularly at the Librairie

de l’ Art Indépendant, at the Taverne Weber.

At the”Tuesdays” at Mallarmé’s house with his close friend Pierre Louys. A Quotation
from composer and recounted the relationship between music and word:

I conceive a different dramatic power:

of a music that begins

where expressive power of the word ends.

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Characteristics of Debussy’s Préludes

It is a collection of single pieces of very different origin and character by choosing

different poetic titles.

The musical presentations of images and impressions that may or may not have been
previously depicted in art or poetry. The captions and titles suggest scenery and
framed picture rather than direct and unmediated experience.

Also,Superbly varied array of sound colors and other depicting devices, but also the
impressive wealth of musical thoughts.

Depiction of composer memories and impression. Although he doesn’t like the idea
of impressionist, we today consider his music does belongs to Impressionism.

However, these verbal allusions invariably appear beneath the final near surges of
the score. This has led to a suggestion that they may not be intended to guide the the
imagination. It has been held that performers and listeners would actually appreciate
the music for its absolute value just as much without having in mind the allusion
given in the caption.

This adds a vital perspective to my interpretation or performance by discovering

more possibilities and imagination, instead of only trying to realise the scenario he
suggested.

Focus of the this project

It aims having a better understanding in how composer depict Nature - Wind and
Snow in Preludes Book 1 by studying and analysing the structure and music
materials.

By showing how the Préludes with their detail in light of the descriptive wording that
sets extra-musical frame of reference, evoke in the listener’s mind vivid and
luminous pictures and scenes.

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Voiles (Book 1, no.2)

The tile ‘ Voiles ’ in French means veils or sails. Our imagination Links both to the
wind, they might billow, flap, undulate softy, or even be still.

The veil, hides a woman’s face from the eyes of the world and symbolise purity.
Meanwhile, The sails,conceived as stark white and perceived with a similar
connotation.Composers used all the above imagination to express the beauty.

In harmonic analysis:

In the music, it mostly uses whole-tone scale and avoidance of the semitone.

Example 1 (Book 1, no.2, bar 29-30)

Besides,it always rests on the bass pedal-note B flat.

Example 2 (Book 1, no.2, bar 5-9)

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Voiles (Book 1, no.2)

Regarding the thematic material, the amount of repetition reduce the alertness and
express the impressionistic or feeling of day-dreaming.

The feeling of freedom and floating are also created by the metrically and rhythmic
design:

The subheading was indicated as ‘ in a rhythm that is without rigidity and caressing.
And phrases introduced with downbeats rest.

Example 3 (Book 1, no.2, bar 22-24)

Contrast with climax or development section:

The pedal-note is still rooted in B flat, however, A flat now as melodic centre. This
section is also more lively in tempo and animated in character.There are groups of A
flat are built on the pentatonic scale. (Right hand: Bb DB Eb Gb Ab)
Example 4 (Book 1, no.2, bar 42-44)

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Le vent dans la plaine ( Book 1, no.3)

In the search for extra-musical source for the music title. In Debussy’s song cycles-
Ariettes oubliées, the words attributed to the French composer and poet Favart as a
epigram to the poems by Paul Verlaine.

Le vent dans la plaine

Suspend son haleine

It means that ‘ The winds in the plain is holding its breath’. The wind does not
blowing with untrammelled force. Composer depicted it with the following
parameters of rhythm, dynamics and tonal language.

In Rhythmic analysis:

Composer creates the atmospheres and movements of wind by choosing a number of

very regular patterns which combined and determine the overall mood. It includes
the constant flow of softly murmuring sixteenth-note sextuplets.

Example 5 (Book 1, no.3, bar 1-2)

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Le vent dans la plaine ( Book 1, no.3)

In rhythmic analysis:

Also including the thematic and characteristics double-dotted rhythm in the bottom
layer.

Example 6 (Book 1, no.3, bar 17)

Example 7 (Book 1, no.3, bar 44-45)

However, there are occasional deviations occurs which are truly startling and
represent the breath was held.The flow of wind is suspended in bar9-12, 50-53

It draws to a standstill with accompanying cédez( give away/release).Although they

are slower with equal regular value, not as steady as the previous murmur.

Example 8 (Book 1, no.3, bar 9-12)

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Le vent dans la plaine (Book 1, no.3)

Other unexpected interruptions of the rhythm regularity:

A short-short-long rhythm in f crescendo, followed by an accented syncopation in

subito p, produces a true and volatile surprise, as like some abrupt gusts. (Bar 33-34)

Example 9 (Book 1, no.3, bar 33-34)

Last place perceive as the wind holding its breath: In the very end of the piece, bars
54-55:

It based on the pitches of the murmuring breeze and chromatic shifts.

Short-short-long rhythm becomes a regular triplet and with a gentle dynamic
increase. The third note of the triplet starts to swallow the the syncopation.From C
Flat Major chord slides chromatically to D Major and remains
unresolved.Meanwhile, the dynamics(p-pp-piu p-ppp) and tempo( un Peu retenu)
bring the pulse to a whispering close.

The Sonority of Laissez vibrer which suggested in the final bar conveys eneerie
quality of loneliness-as if it were now nature’s turn to hold its breath. It brings a
poetic mind with a kind of stillness in a breezy days and the wind holding its breath.

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Le vent dans la plaine (Book 1, no.3)

Example 10 (Book 1, no.3, bar 51-59)

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Le vent dans la plaine (Book 1, no.3)

The general tone colour is indicated as aussi légèrement que possible( as lightly as
possible), and the realm of p is only abandoned for the sudden, short gusts in f
crescendo.

Composer ties three consecutive preludes together musically by building them

mainly on B Flat pedal-note, it reflects common imagery to the interpretative
fantasies to the performer or audience.

The pedal-notes are particularly intriguing as follow:

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

It is the third prelude on the subject of wind. From Moving air of Voiles(no.2) and
whispering wing in the plain( no.3), now announces a storm or stronger forces of
nature in this prelude. Debussy has taken the title(what the west wind has seen) from
one of the fairytale of Danish poet Hans Christian Andersen.

In his story The Garden of Paradise, Andersen tells of a prince who, wandering the
world in search of the Garden of Eden, meets the "mother of the winds." While he is
talking to her and questioning her, the four winds who are her sons return home one
after the other, each giving accounts of what they have done and seen. Here is the
excerpt comprising the tale of the West Wind (a wind that, for the Danish just as
much as for the French, is the wind that comes from across the Atlantic Ocean)

- Bruhn, Siglind. ​Images and Ideas in Modern French Piano Music : the Extra-Musical Subtext in Piano Works by
Ravel, Debussy, and Messiaen ​Stuyvesant, N.Y: Pendragon Press, 1997.

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

This west wind thus tells of nature: forest wilderness untouched by human beings,
rivers, clouds and rainbows.

He also shows his mischievous nature when talking about the delight he took in
seeing the buffalo This wind thus tells of nature: forest wilderness untouched by
human over the brink -such delight that he blew up a mighty storm that even more
havoc.

His playful mood expresses itself in wild whirls in open fields and in the childlike fun
at the scattering of coconuts when hugging his mother, Andersen's West Wind is
indeed an fellow.

In musical structure:

It is in form of A B B’ A’ which A section contain two components and B section with

four motives.

In initial A section, a basic windy whirl is established on a dominant-seventh chord, a

six-five chord over F sharp which is an essential pedal point in this prelude.
Interestingly in harmony, the melodic element thus introduces a harmonic feature.
In bar 3-4, the accented peak notes can be treated as one more six-five chord,
appearing as a transposition to the tritone of the previous one, where Ab7 chord is
over D7 chord.

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

Example 11 (Book 1, no.7, bar 1-9)

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

The B section begins in bar 10 with motif a:

A juxtaposition of pedal-note F sharp and a whole-tone pitch content that

contrastingly not include F sharp. The melodic component developed logically from
preceding phrase, which consists of parallel shifts, but this time in a double
second.Also, the distinct rhythmic shape is significantly stand out.

Motif a:

Example 12 (Book 1, no.7, bar 10-13)

Compare to the preceding one .

Example 13 (Book 1, no.7, bar 7-9)

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

Motif b , which is drawing a strongly dotted rhythmic shape of motif a:

Motif b departs from from p as the dynamic center, and further increase occurs in the
realm of tempo.

Example 14 (Book 1, no.7, bar 15-20)

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Ce qu’a vu le vent d’ouest (Book 1 , no.7)

Motif b in B section from bar 15, ​commencer un peu au-dessous du movement​ (to
begin a bit below the tempo), then followed with a gradual return to the original
animated tempo ( revenir progressivement au mouvement animé).

In bar 19 , extend motif b occurred by its tritone transposition and in a chordal

setting based on the whole-tone scale, and with each accented longer beat followed
by an ascending , dynamically increasing whole-tone scale flourish.

Bars 21-24 present motif c, continuing the intensification process from f to ff.
Melodic idea is based on the whole-tone scale on C, right hand in a major chord while
left hand with an inverted V7 chord, with a pedal point F sharp.

Example 15 (Book 1, no.7, bar 21-22)

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Ce qu’a vu le vent d’ouest (Prelude Book 1 , no.7)

After the strident passage and trill, the dynamic intensity subsides very drastically, to
reach p and reduced tempo(un peu retenu).

In bar 26, the last motif d is sets in. It is more sketchy than other three which is in a
close range of register and overlapping in its octave jump. Also, not supported by any
bass pedal and Toccata-like gesture and pattern. Also, motif d is in p and designed
with mais en dehors et angoisse, soft but clearly audible and anguished.

Example 16 (Book 1, no.7, bar 25-30)

Therefore, components of this prelude is rich where occurs whirling arpeggios,

tremolos, trills, toccata patterns, suddenly rising chromatic elements, subito dynamic
effect.

They all depict a character of mischievous but sametime innocent. Also, the facet of
playfulness is also expressed by the dotted rhythm in motif a, b ,c. While motif d
presents the anguished mood and reaction of the west wind ‘s destructive deeds.

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Des pas sur la neige (Prelude Book 1 , no.6)

Literally, the title translates as ​Steps on the Snow​, commonly known as ​Footprints in
the Snow.​ As the French word ’pas’ not only means the pattern left in an immaculate
surface, also refers to the actual step-the physical action of a living being making its
way the snow, probably freezing, lonely and exhausted.

Triste et lent ​(sad and slow) composer requests in the beginning of the prelude.
For the Footsteps, ​Ce rythme doit avoir la valeur sonore d’un fond de paysage triste
et glacé​ (this rhythm should have the sound value of a sad, icy landscape). Footsteps
are conveyed in the main motif: (appears in 24 of the total 36 bars)

Also, D constitutes the keynote and as a repeated pedal,

expresses the tension of a walker guled to the ground.

Example 17 (Book 1, no.6, bar 1)

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Des pas sur la neige (Prelude Book 1 , no.6)

Left and right foot can interpreted by this stumbling rhythm.They are in two groups
and with very syncopated rhythm as musical embodiments of actual motions of a
person walking with difficulty throughout snow. Composer tried to explore the
possibilities of this motif by joining with different harmony, textures, melodies.

Sorrowful melody upon the motif (bar2):

Example 18 (Book 1, no.6, bar 1-3)

Motif in chromatically ascending harmony:

Example 19 (Book 1, no.6, bar 8-9)

Motif in high register:

Example 20 (Book 1, no.6, bar 32)

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Des pas sur la neige (Prelude Book 1 , no.6)

In this prelude, composer’s depiction extends far beyond the immediately obvious
motivic play. Also, the difficulty of balancing oneself in the snow finds its expression
in chromatic ascending and descending motion, falling in tritone and sustained
chords.

Example 21 (Book 1, no.6, bar 12-15)

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Conclusion

Debussy’s music focuses on conveying the moods and emotions aroused by the
subject rather than a detailed tone-picture. They are typically in evoking a mood,
feeling, atmosphere, or nature scene by creating musical images through
characteristic motifs, harmony, exotic scales (e.g. whole-tone and pentatonic scales),
parallel harmony motion.

It is similarly to the Impressionistic paintings, emphasising on single stroke of brush

and the sensitive use of starkly contrasting colors, blurry foreground and
background, flattening perspective. Also, painter started to capture the nature by
painting outdoor, however in previous practice, painters used to paint in a studio
with still lifes and portraits. Debussy painted his music with the use of timbre -
colour, which creates an unprecedented way of expressions in sound.

Impressionistic music Impressionistic paintings

characteristic repeated motifs emphasising on single brush stroke

contrasting harmonies, exotic scales sensitive use of starkly contrasting

(e.g. whole-tone and pentatonic colors
scales)

repeated murmuring running notes, blurry foreground and background,

trills and tremolo flattening perspective

setting the nature as title capturing the nature by painting

outdoor

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Bibliography

- Bruhn, Siglind. ​Images and Ideas in Modern French Piano Music : the
Extra-Musical Subtext in Piano Works by Ravel, Debussy, and Messiaen
Stuyvesant, N.Y: Pendragon Press, 1997.

- Howat, Roy. The art of French piano music : Debussy, Ravel, Fauré, Chabrier
New Haven, Conn: Yale University Press, 2009.

- Vallas, Léon, O’Brien, Maire., and O’Brien, Grace. Claude Debussy : His Life
and Works Dover ed. New York, N. Y: Dover Publications, 1973.

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