Les sons...

In the first two measures, Debussy presents the melodic and harmonic materials developed throughout the Prelude.

The key signature suggests the A major key, but the B flat adds a Phrygian color. The E at the end of the first measures establishes A as the tonal center:

The F# and the C# in the melody (measure 2) are not part of the Phrygian mode. We prefer to think that we're in A major and that the B flat is the result of a modal interchange:

Two important motives appear in these first measures: the half step between A and B flat that we will call the half step motive, and the perfect fourth between F and C sharp, the fourth motive.

Measures 3 to 8

• An A pedal in the bass is present from measure 1 to 8.
• The fourth motive is repeated in measures 3 and 4.
• In measures 5 and 7, the fourth motive moves to C and G. The C is the augmented ninth, and the G is the minor seventh of the A dominant chord.
• In measures 6 and 8, a B flat adds the minor ninth to the dominant chord (the B flat reappears).

But there is more:

• Debussy adds a politonal color with an internal voice that plays a series of dominant seventh chords.
• The half step motive is present in the upper notes. The A - B flat is now B flat B natural.

Measures 1 to 8:

Paavali Jumppanen, piano
Isabella Stewart Gardner Museum
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© 2020 José Rodríguez Alvira. Published by teoria.com