by Lee Ann Leung
Impressionistic composer Debussy was once accused of violating the “laws of music” because of his use of unconventional harmonic relationships. He focused particularly on the overall feel and emotive qualities of his compositions. In his work, Prelude to an Afternoon of a Faun, the lack of clearly defined themes, successions of seventh chords (mm 48-9), and parallel fifths (m 102) show that Debussy values transparency and sonority over “correct” voice-leading. Even Camille Saint-Saëns said he could make no sense of the work. A professor at the Paris Conservatory commented on Debussy’s parallel chords as “theoretically absurd” to which Debussy replied, “there is no theory. Pleasure is the law.”
Debussy opens his work with the sound of the flute – what can be interpreted as the instrument of the faun. The chromatic line falls and rises, outlining the most ambiguous harmony, the tritone, in which there is the listener does not know what key the piece is in. Out of nowhere in measure 5 comes a Bb dominant 7th chord in no relation to the preceeding harmonies. When the chromatic rise and fall of the opening flute melody returns in measure 11, there is new harmonization. Here in measures 11-20, the theme is repeated but this time with orchestral support. Clarinets and oboes join in. In measures 21-30, there is again a new harmonization of the flute melody that involves fluttering harp arpeggios. This conveys a sense that the piece is opening up. In the third appearance of the melody, in measures 31-36, the clarinet has the melody and initiates a move towards a middle section, perhaps further development of themes. Beginning in measure 37, the expression markings signify that the direction of the music is changing. En animant in measure 37 states that the music should become animated. Toujours en animant in measure 44 says the music should become even more animated. Furthermore, there is a sense of forward movement and clearer harmonies. The oboe phrases alternate with the violins and woodwinds so that there is quicker exchange of musical ideas. Phrases and motifs are echoed between the instruments, and the theme is becoming more and more developed approaching the climax. The rhythms become more intense and dynamic level rises to forte, signifying an exciting build up of sound. Then, at measure 51, Debussy indicates 1er movement, which means to play back at the original speed.
The development and significance of the opening flute melody and its variations with different orchestrations and harmonies is important to the overall structure of Debussy’s work. Specifically, the harmonic language adds to the work’s unique qualities. The whole tone scale, comprised of all whole steps, is a prominent harmonic and melodic feature of Debussy’s work. Although the whole tone scale is used quite a lot, Debussy uses many triadic harmonies while moving through chord progressions that are free from the rules of normal diatonic progressions.
In measure 55, yet another new theme in Db major is introduced at the same speed as the opening and very sustained. This new theme is distantly related to what the listener has heard before, but in quiet yet full orchestration with slower rhythmic values. Later, note values become quicker with a large crescendo up until the fortissimo reached in measure 70. Then, the music dies down suddenly and the texture thins out as well. It seems as if the music has calmed down quite a bit and we hear the return of the opening theme sneak back in at measure 79. The opening motif, upon each of the times it returns, keeps getting reset in different harmonic atmospheres. This time it is set with the harp playing fluid arpeggios. Beginning in measure 86, the oboe takes on the theme starting on the note Eb. The theme reappears again in measure 94, but this time doubled on two flutes, which flow into a trail of triplets along with a lush string section. Finally, in measure 106, there is the final echo of the main theme in the horns and violins in slower rhythm and soft dynamics. Debussy is letting the piece come to its final close. The work ends in a cadence from C# minor to E major.
The ending does not sound like a typical ending and thus is not obvious to the listener. Although the final-sounding chord is in E major, a chord that is clearly tonal, Debussy does not set up the arrival of the final chord in such a way to give it a definitive ending. Structurally, he lets the listener know the piece is coming to a close by lowering the dynamics and drastically slowing the tempo. But because most of the work has been about developing the flute motif and having it return with a slightly different sonority each time it reenters, and juxtaposing the melody against a series of traditionally unrelated harmonies, the listener does not hear a familiar sounding chord progression. Rather, the ending emerges in an unconventional harmonic manner because there has been no dominant harmony or specific key to consider the piece in.
Debussy’s style is an intriguing approach to music that foreshadows the types of work written in the 20th century. Debussy’s intuitive juxtaposition of harmonies, dream-like coherence, and specific and complex markings show that he valued shape and flow. He uses contrasts, dynamic swells, interweaving harmonic structures to represent musical impressionism. There is always a new idea spinning out from the previous one. Listening to Prelude to an Afternoon of a Faun, based on a poem by Mallarmé, conjures in the mind an image of a faun in the afternoon sunlight. With the subtlety of coloring and novelty of forms, Debussy’s work is the pivotal point for breaking traditional elements and taking on an attitude that characterizes much of the music written in the beginning of the 20th century.
Posted in
