Debussy: Harmony:
1. Non-functional harmony – tonic, dominant and subdominant chords don’t establish keys.
2. Successions of sensuous chords are related to each other by systematic parallelism, e.g. melodic accompaniment (11-12) and chord streams (35-41).
3. Some ‘novel’ cadences as chords that are a 3rd apart are used – respectively E major to G# minor in the opening phrase.
4. Many parallel 5ths are ‘relished’, most likely for their archaic, organum-like sound, e.g. 50-54.
5. One of the earliest uses of quartal harmony, e.g. bar 23.
6. Melody is re-harmonised when it returns, i.e. different, striking re-harmonisation of the opening melody (42-45).
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