...et le parfums...

Debussy will now develop materials from the first measures.

• The A pedal point continues.
• An augmented chord turns into a dominant chord over the pedal point.
• The E# (fifth of the augmented chord), moves chromatically (half step motive again!) to an F# before arriving at the dominant chord's G natural.

A melody based on the half step motive develops over the chord. The minor second is now a major second and repeats as a sequence in measure 11. The melody adds the augmented eleventh and major ninth to the chord:

The A pedal point continues in measures 13 to 19. A descending version of the half step motive appears as an internal voice doubled at the octave with an added tritone:

We also hear the fourth motive (now using G#). This time the motive is developed using the pentatonic scale of A#. Three tonal dimensions appear in these measures:

1. The A pedal point.
2. The half step motive: F-E and B-A#.
3. The A# pentatonic scale.

At the last measure, a motive using notes C#-D# create an ostinato that will continue in the following measures:

• The C#-D# motive is related to the thematic material from measure 9 and the pentatonic scale.
• The chords develop the half step and the fourth motives.
• The pedal point disappears. It reappears in measure 24.

A short recapitulation of the first measures plays in measure 24:

Measures 9 to 26:

Paavali Jumppanen, piano
Isabella Stewart Gardner Museum
Creative Commons Attribution-NonCommercial-NoDerivs 4.0

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© 2020 José Rodríguez Alvira. Published by teoria.com