comparative equipment and formal features in the …/67531/metadc...debussy, string quartet, p. 39,...
TRANSCRIPT
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A COMPARATIVE STUDY OF THE HARMONIC EQUIPMENT
AND FORMAL FEATURES IN THE STRING QUARTETS
BY CLAUDE DEBUSSY AND MAURICE RAVEL
THESIS
Presented to the Graduate Council of the
North Texas State Collese in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
by
211824Robert E. Jenkins, B. Mus.
Fort Worth, Texas
August, 1952
3-19
1Va. 2 33
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TABLE OF CONTENTS
LIST OF
LIST OF
Chapter
TAILES ... . . . . . . . . . . . . . . .*. . .#
ILLUSTRATIONS . . . . . . . . . . . . . . ..
I. INTRODUCTION: OBJECTIVES AND PROCEDURE . .
II. THE INFLUENCE OF PREDECESSORS ANDCONTEMPORARIES ON THE WORKS OF DEBUSSYAND RAVEL . . . . . . . . . . . . . ..
The Rise of Impressionism in FranceInfluence of Predecessors and Contemporaries
on DebussyInfluence of Predecessors and Contemporaries
on RavelCounter Influences of Debussy and Ravel
III. HARMONIC ANALYSIS AND COMPARATIVE STUDYOF THE DEBUSSY AND RAVEL QUARTETS . .
Analysis of the Debussy String quartet
Harmonic equipment: structure andfunction
Formal features
Analysis of the Ravel String Quartet
Harmonic equipment: structure andfunction
Formal features
Summary and Comparison of the Debussyand Ravel Quartets
IV. CONCLUSIONS . . . . . . . . . . . . . .
BIBLIOGRAPHY .,.$ ... ... ...
I
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LIST OF TABLES
Table
1. Harmonic Material in the Debussy juart . . . .
2. Seventh Chords . . . . . . . . . . . . . .
3. Inversions of Seventh Chords . . . . . . .
4* Triads # . * . . . . * . . . . . . . . . .
5. Inversions of Triads . . . . . . ...... . ..
6. Ninth Chords. . . . . . . . . . . . . .
7. Inversions of Dominant Ninth Chords . . . . .
8. Tonal Centers in First Movement ofDebussy Quartet . . . . . . . . ... ..
9. Tonal Centers in Second Movement ofDebussy Quartet . .-. . . . . .
10. Tonal Centers in Third Movement ofDebussy Quartet . . .a... . . . .. .# . . .
11. Tonal Centers in Fourth Movement ofDebussy uart#t . . . . . . . . . . . . .
12. Harmonic Material in Ravel Quartet . . . . ...
13. Seventh Chords . . . . . . . . . . . . . . .*...
14, Inversions of Seventh Chords . . . . . . .
15. Triads . . . . . . . . . . . . . . . . . . .
16. Inversions of Triads . . . . . . . . . . .
17. Ninth Chords . . . . . . . . . . . . . . .
18. Inversions of Ninth Chords . . . . . . * ....
19. EleventhChords . . .. . . . . . . . . .
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Table
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* a . . . .
. a a a a .
a . a a .a
. a a . a .
a ap a .a a
Aspects . a
V
Tonal Centers in First Movement ofRa e uarteo . . .. ...
Tonal Centers in Second Movement ofRavel Sucartst . . . . ,. . . . .
Tonal Centers in Third Movement ofRavelQuartet . . . . . . . .
Tonal Centers in Fourth Movement ofRav l Quartet#.#.!. . . . . . . .
Comparative Interpretation and TempoIndications . . . . . . . .
Comparative Tonal Centers and Formal
Pale
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LIST OF ILLUSTRATIONS
Debussy, Chansons de Bilitis, p. 12, m. 8
ioussorgsky, "Elegy" from the Song CycleSunless . . . . . . . . . . . . . . . .
Debussy, "Nuages" from the NocturnesRimeky-Korsakof, Scheherazade, Violin Solo
in Second Movement . . . . . . ...
Debussy, 2'Aprs-midi un fauna . . .Borodin, Strin uatet No. 1 . ..
Chabrier, Trois Valsas Romantiques. . .
Ravel, Valses nobles et sentimentales .
Ravel, "Toccata" from the Tombeau deCouperin . . . . . . . . . . .
Chabrier, gBourre flaasqu . .
Faur, quartet for Piano, Violin, Violaand Cello . . . . . . . . . . . . .
Debus y, Strin uare~t .. . . ..
Ravel, 8rnguartet ... . . . . .
Debussy, "Pagodas" from Estampes . . .
Ravel, Jeux d'Eau . . . . . . . . . . .
Debussy, Strin Quartet,. p. II, mm. 7-8
Debussy, Strin Quartet,, p. 34, m.. 10
5.
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p. 33, mm. 15-19
p. 35, mm. 1-3 .
p. 26, mm. 2-5
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Figure
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2.
3,4.
Debussy, Striom uartet,
Debussy, String quartet,
Debussy, Strin Quartet,
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Debussy, Strin Quartet,
Debussy, String Suar... Lt,m. I ... . . . . . .
23. Debussy, Strip Quartet,m* 1-3 . . . .. .
24. Debussy, Strin quartet,m. 1 . . . . . . . .
Debussy,
Debussy,
Debussy,
Debussy,
Debussy,
Debussy,.
Debussy,
Debussy,
Debussy,
Debussy,,
Debussy,
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Debussy,
Debussy,,
Debussy,
Debussy,
Debussy,
String Quartet,
String Quartet,
S s nl Quartet,
String Quartet,
str Quartet,
String Suartet,
String Quartet,
String Quartet,Strin uarte ,
String Suartt,
St Quartet,
String Quartet,
String Suartet,Stringquartet,.
StromgQurtt,.
42.. Debussy, Strin Quartet,
p. 1, mm. 1-2 . . .
Figure
21.
22.
p. 16,
p. 16,
p. 18,
p. 20,
p. 22,
p. 22,
p. 24,
p. 27,
p. 27,
p.. 28,.
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p. 33,
p. 33,
p.
M. 13;. . .
m. 15;. . .
m. 12;9 . .
mm, 10
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mm. 16-19
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43. Debussy, String Quartet,, p. 36, mm. 1-3
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Debussy, String quartet, p. 39, mm. 15-1Debussy, Str Quartet, p. 40, mm. 10-a
Debussy, Strin& Quartet,, p. 42, mm. 11-1
Debussy, String Quartet, p. 46, mm. 1-2
Figure
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10, mm. 12-13Ravel,
Ravel,
Ravelf
Ravel,
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Ravel,
Ravel,
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Ravel,
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Ravel,
String Quartet, p.
String iartet, p.
stin juaftt, p.
Strin Quartet, p.
String Quartet, p.
Str Quartet .
Stri uart p.
String Quartet, p.
fljrin 3uarlt, p.
String Quartet, p.
stflna Suartet, p.
Stin Qurt p.
Strin5 partet. P
Strom Qartet,. p.
String juart, p.
St Quartet,,p..
String Quartet, p.
Str nQuartet,
$tr 4ngQuartet, ps
Strn uartt, P_68. Ravel, String Quartet,. p.. 47, mm. 16-18
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CHAPTER I
INTRODUCTION: OBJECTIVES AND PROCEDURE
The single flg Quartet by Claude Debussy (1892-3)
and the one t Quartet by Maurice Ravel (1902-4) did
much toward shaping their composer's mature musical person-
alities and prepared the way for their acceptance as French
composers of the first order. Debussy's uartet marked the
beginning of the most productive years of his creative
activity, the years between 1892 and 1900. The Ravel Quartet
designated the onset of his mature second period, and the
composition stands among his most distinctive works.
This thesis proposes to determine the construction of
the two quartets and to reveal through the study of the
quartets the similarities and contrasts of the creative
musical characteristics of Debussy and Ravel.
Biographical data concerning both composers are
excluded except in instances of direct relation to the
music being discussed. In the same manner critical im-
pressions and opinions of the works of each composer by
various writers are not contained in this study except in
cases of particular importance.
Chapter II is a study of the important influences to
which Debussy and Ravel were subjected. Whenever possible
1
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and necessary for the clarification of adiscussion con-
cerning influences,, examples and references are cited in
both the works of the composers being studied and the
sources of the influences.
Chapter III presents a study of the aesthetic and
technical principles employed in the two quartets and
analyses of the modes of presentation of these principles
in terms of harmonic structure and function. In most cases
the clarity and formal symmetry of both quartets make ex-
tended note-for-note analyses unnecessary. However, it is
here believed that detailed study, if not allowed to obscure
the total effect of the work, will unravel passages which at
first sight, or first hearing, may seem obscure. Representa-
tive sections of the works are considered in most instances
to illustrate adequately the item or style feature being
discussed.
In the analysis of harmonic equipment it is most logi-
cal to study and present writing habits which appear in
sufficient quantity to be recognized as the principal fear
tures of that particular style. A survey of the vertical
sonorities in the quartets is therefore presented in order
of relative frequency.. In most cases the chords appear in
actual vertical structure; however, since some of the music
in both works is monodic,, the successive melodic tones which,,
when grouped together,, comprise chords, are accorded harmonic
identity.
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Chapter IV is comprised of conclusions which are drawn
directly from the materials presented in Chapter II and
Chapter III. It is shown that few additions to the melodic
and harmonic. vocabulary of the preceding period in music
were made by either Debussy or Ravel. But their importance
is to be found in their manner of employing the compositional
devices already in existence, It will also be found that
their novelties of idiom are principally extensions, rather
than contradictions, of the musical practices of the
Nineteenth Century.
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CHAPTER II
THE INFLUENCES OF PREDECESSORS AND CONTEMPORARIES
ON THE WORKS OF DEBUSSY AND RAVEL
The Rise of Impressionism in France
The word "Impressionism" was originally coined in
1863 as a term for "opprobrium in a derisive criticism" 1
of a painting exhibited in Paris by Claude Monet,, called
"Sunrise; an Impression." The term was then applied to
certain anti-academic and anti-romantic tendencies in late
nineteenth century painting, advocated and carried into
effect by Edouard Manet, Claude Monet, Auguste Renoir,
Camille Pissarro, Edgar Degas, and a number of others who
followed the example set by these leaders.2
The technique of impressionism in painting followed
the theory that color, as a defined quantity, does not
exist, but is only the result of the play of light upon
form. Shadows are considered to be an altered form of
light,, rather than the absence of it. By the exclusion
from the palette of all but the actual colors contained
in the spectrum,, and by the placing of alternating colors
1P. G. Konody, "Impressionism," Encyclopedia Britannica,Vol. XII, 14th ed., p. 125.
2lbid.
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upon the canvas, instead of mixing the colors, the impres-
sionist painters "invested their works with a degree of
vibrant quality suggestive of atmospheric vibration that
had not previously been obtained by any other method."3
As applied to sculpture, impressionism refers to model-
ling forms by planes of light and shade with
bosses and hollows, which do not describe form withanatomical accuracy or reveal the essential structureof form, but which reflect light inpuch a way as tocreate the illusion of natural form.
Impressionism in sculpture developed later than impression-
ism in painting and was influenced greatly by the movement
in painting. Auguste Rodin (1840-1917) is the chief repre-
sentative of impressionistic sculpture, but the sculpture
of Degas and some of the modelled works of Carpeaux, Barye,
Epstein, George G. Barnard, and Gutzon Borglum,, are also to
be considered impressionistic. 5
As has been previously stated, the term impressionism
was initially and generally applied to painting, but,, as is
usually the case,. music,, poetry,. and the thinking and acting
of the entire period reveal similar tendencies. Impression-
ism, or symbolism (as it is more accurately termed in poetry),
follows a philosophical pattern similar to that of the
k1b., p. 126.
L. D. Longman,, "Impressionism," 4nylopedia of theArs, (1946), p. 256.
5 lbid.
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painters. The expression of "a free conception of life"6
was the principle adhered to by the symbolist poets. They
endeavored to render the reflection of their subject, rather
than the actual position and structure of it. Their careful
arrangement of consonants and vowels were intended to con-
tain the same general effect as the contemporary impression-
istic techniques in music and painting. Symbolism in poetry
is treated in greater length in the next section of this
chapter, "The Influence of Predecessors and Contemporaries
on Debussy and Ravel."
Impressionism,. as most new movements, was rootedin antagonism. In music, the dramatic dynamism ofBeethoven, the heated atmosphere and exhibitionism ofWagner, and the introspective emotionalism of theRomantic composers in general was replaced by a newtype of music (eminently French in character) whichseems to hint rather than to state; in which success-sion of colors take the place of dynamic development,and "atmospheric" sensations supersede heroic pathos.
This new "style, evolved from the disintegrating national
and postromantic schools, drafted certain style features
found in the music of Wagner, Bizet, Franck, Grieg, Borodin,
and Moussorgsky, and reacted sympathetically to influences
emanating from contemporary poetry and painting. The
crystallization of these new theories in the Impression-
istic movement led to the
abandonment of such typically "German" achievementsas sonata, symphony, thematic material, development
6 Leon Vallas,, Claude Debussy (1933), p. 51.7 Willi Apel, "Impressionism, " Harvard Dictionary of
Music (1947), p. 350.
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technique, and resulted in the introduction of variousnovel devices which are antithetic to the principalfeatures of classical and romantic harmony.
Musical impressionism shares many traits, eventechnical ones, with literary and pictorial impres-sionism. It exhibits the same disinclination towarda logical compositional grouping of ideas, the samepictorial-planar preference for the juxtaposition ofdifferent colors and sonorities which are not heldtogether by definite lines. The unifying effect isno longer achieved through grouping and building butthrough the similarity of the sections, their char-acter and mood. Thus it is not the order but the moodof the particular sections which achieves "form," forit calls not on memory, but only on a faculty of sen-sory impressionability. The chief component of thismusic is a programmatic atmosphere; amystic, opalinequality, dreaminess, mood-impressions, instead ofcausal continuity or logical relationship of ideas.Now music becomes illustration, the illustration ofa mood announced in the title. It no longer countson form in the conventional sense; it is held togetherby the suggestive mood announced by the poetic--thatis, extramusical--title, Still, this is not programmusic, nor is it descriptive music it is, rather,poetry translated into music, the landscape poetry"of French literature and painting.9
"Claude Debussy identified himself with the impression-
ist movement in French art and produced a.highly original
style." 10 Debussy's so-called innovations (later termed
"Debussyism") became the commonplace tools of impressionist
technique. Impressionism in music is characterized by the
following general devices and elements (a more detailed
treatment of the impressionistic methods in music will be
8
9 Paul Henry Lang, Musicnin Western Civilization (1941),p. 1018.
10Hugh Milton Miller, An Outline History af Music(1947), p. 184.
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made in Chapter III and Chapter IV): the use of open fifths,
usually in parallel motion; the employment of neomodality;
extensive parallelism; chord progressions not in accordance
with those of the preceding period; extensive use of seventh
and ninth chords without preparation or resolution; internal
harmonization; the whole tone scale; less prominence of bar-
line regularity; long, flowing melodic lines and general
vagueness of form; the employment of pseudo-Oriental and
Spanish color effects; use of short appoggiaturas on the
strong part of the measure; and, in piano works, simulta-
neous usage of the extreme registers of the instrument. 1 1
Maurice Ravel,, the second great exponent of the impres-
sionist movement in music, is less atmospheric than Debussy.
His style consists of all of the general impressionistic
devices employed by Debussy with the following considera-
tions:. sparing use of the whole-tone scale; wider use of
the eleventh chord than Debussy; greater clearness of style
and less complex in form than Debussy; predilection for
baroque forms and styles influenced largely by the works
of Couperin and Rameau; and wide usage of Spanish rhythms
and harmony. 1 2
The extensive employment of parallel progressions
throughout the works of both Debussy and Ravel are the
most prominent aspect of their impressionistic techniques.
1 2 bid., p. 185.i zi -Ibido"am
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Consecutive fifths,, fourths,, and major thirds proceeding
by whole tones and by semi-tones, are widely used in the
works of Debussy and Ravel. Successions of seconds, sevenths,
and ninths in parallel movement are also found in the works
of both composers, but they are not used so frequently and
extensively as. the consecutive fifths, fourths, and thirds.
The following quotation from Debussy's Chansons de
Bilitis (.897) is an example of compact and extensive employ-
ment of parallelism:
Fig. 1--Debussy, Chansons de Bilitis, p.. 12, m. 8
major thirds,, fifths, sevenths, ninths, and the whole-tone
scale are all present in this passage.
Influence of Predecessors andContemporaries on Debussy
Claude Debussy (1862-1918) entered the Paris Conserva-
toire in 1873 at the age of eleven,, remaining there until he
was twenty-two. He went through the established curriculum,
enrolling first in Albert Lavignac!'s solfege class,. for which
the school was famous.. At the same time he studied the piano
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with Marmontel and entered the harmony class of Emile Durand.
In 1876 Debussy won first prize in solfbge and second prize
in piano at the annual Conservatoire competitions. The
first prize for score-reading in. 1880 enabled him to enter
the competition class of Ernest Guiraud.
Debussy studied organ and improvisation. for a short
time in 1880 under 0sar Franok.. He abhorred Franck' s
"harmonic vagueness due to his mania for modulating," and
later termed him a "modulating machine."13 However, theinfluence of Franck's employment and expansion of "cyclical"
form (i.e., the appearance of a defined theme in several
movements, with rhythmic,. melodic, and harmonic transforma-
tions, but with the theme always recognizable as to its
relation to the initial source) may be found in Debussy' s
Fantasie for P4an d orchestra. (1889) and in the String
juaj four years later..
Predilection for harmonic freedom caused Debussy to
appreciate Chopin from the earliest years at the Conserva-
toire.
Long before the Russians, and perhaps in an equalmeasure, the Polish master played an important partin revealing to him the rich possibilities of theOriental scales, an. the melodic and harmonic vari-ety they afforded. 1 4
Debussy admired Grieg for much the same qualities as
1 3 Leon Vallas,, Claude Debussy (1933), p.. 11.
14Ibid. , p. ,62.
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attracted him to Chopin. Grieg's unorthodox successions of
chords with unresolved sevenths and ninths,, and his alter-
nating of major and minor modes in accompaniments to his
songs particularly impressed Debussy.
Under the careful guidance of Guiraud, Debussy gained
the second Prix, de Rome in 1883 with his cantata Le
Gladiateur,. to the text by Emile Moreau. Paul Vidal won
the first prize,, having "evolved the smoother and more
skilled composition, technically," however, "Debussy was
recognized as having the more personal,. temperamental, and
individual talent." 1 5
Between Le Gladiateur and his cantata for the Prix de
Rome competitions the following year came an interval of
diverse influences which proved invaluable to Debussy' s
development: frequent conferences with his teacher, Ernest
Guiraud, an experienced master of instrumentation; -long
discussions with Gounod every week after the meetings of
the Concordia Society; intense study of the works of Edouard
Lalo, whom Debussy admired throughout his life; thorough
analyses of the works of certain classical and romantic com-
posers recommended to him by his professors; and detailed
study of the instrumentation of Weber's masterpieces.
Debussy was awarded the Grand Prix de Rome in 1884
with his setting of the prescribed cantata L' Enfant prodigue,
15Oscar Thompson, Debussy, an and Artist (1937),p. 64.
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from the poem by Edouard Guinand. Among the twenty-two
out of the twenty-eight judges who gave Debussy their
vote, the principal voice was that of Gounod.A 6
Several years later Debussy wrote the following con-
cerning his impressions upon. learning that he had won the
Grand Prix de Rome:
I was on the Pont des Arts. awaiting the resultof the competition and watching with. delight thescurrying of the little Seine steamers.. I was quitecalm, having forgotten all emotion due to anythingRoman, so seductive was the charm of the gay sunshineplaying on the ripples,, a charm which keeps thosedelightful idlers, who are the envy of Europe, hourafter hour on the bridges. Suddenly someone tappedme on the shoulder and said breathlessly: "You've wonthe prize!" Believe me or not,, I can assure you thatall my pleasure vanished I saw in a flash the bore-dom, the vexations inevitably incident to the slight-est official recognition. Besides, I felt I was nolonger free. 1 7
With such a pre-conceived attitude, it is understand-
able that Debussy's residence in Rome was a period of dis-
satisfaction to himself. Visits to Liszt, Bolto, Leon-
cavallo, and Verdi partly relieved his boredom, but as to
his task of composing an annual work to show his progress,,
Debussy has written to Smile Baron: "The work I have to
send to Paris is giving me a lot of trouble and causes me
to lead a life compared to which convicts have a leisurely
16 Vallas, Claude Debussy, p. 27.
1 7 Edward Lookspeiser, PDebusy (1936), p. 22.
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time." 18 Debussy left Rome and returned to Paris before his
three-year tenure at the Villa Medici was completed.
Literary influences.--Concerning the literary influ-
ences on Debussy, Oscar Thompson has written:
More than the Conservatoire, more than of Rome, morethan of Moussorgsk , more than the Gamelang, therising composer DebussyJ with whom we now have todeal was the product, spiritually and aesthetically,of the literary movement called Symbolism. . . .19
On his return to Paris from Rome (and during the yearaw
1887-1892) Debussy was attracted to the limited circles of
the artists and poets of the impressionist and symbolist
movements. He was among those attending the Tuesday evenings
at Ste'phane Mallarm 4's literary salon in the back room of the
Literairie de l'Art Independant. These symbolist poets were
never unified to the degree of being considered school.
Among them were adherents of widely varying personal aims
and beliefs.. At MallarmC's salonDebussy met Paul Verlaine
and was brought into contact with such well-known symbolists
as Gustave Kahn, Jules Laforgue,. Jean Mordas, Remy de
Gourmont, and Henri de Regnier..
. .:..the poets who assembled there Jat Mallarm6 ' ssalons endeavored to banish from poetic inspirationsubject, development, and composition.. They wantedto break with the inherited forms, to save the purityof sentiment in its literary expression, to condensein it the elusive mobility of life. To achieve thisaim the school did away not only with the rules of
18Ibig., p. 31.
1 9 Thompson,, Debussy, M and Ar t, p. 97.
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traditional prosody,, but also neglected the require-ments of syntax and disregarded the habitual usageof the language itself. They did not seek in theirlanguage the intellectual and objective function. ofwords; they sought their sensuous, musical,, and plasticfunctions.. Debussy transplanted into music the aes-thetics of this new poetry. 2 0
Paul Dukas, who met Debussy in the autumn of 1885, has
written:
Verlaine, Mallarme,, and Laforgue used to provideus with new sounds and sonorities. They cast a lighton words such as had never been seen before; they usedmethods that were unknown to the poets that had pre-ceded them; they made their verbal material yieldsubtle and powerful effects hitherto undreamt of.Above all,. they conceived their poetry or prose likemusicians,, they tended it with the care of musiciansand, like musicians,, too,, they sought to express theirideas in corresponding sound values. It was the writers,not the musicians, who exercised the strongest influenceon Debussy.21
Bayreuth Festivals.--Debussy made two visits. to Bayreuth
to attend the Wagner festivals of 1888 and 1889. He heard
larsifal and Die Meistersinger at the 1888 festival, and
Tristan und Isolde when he returned the following summer.
Debussy told Guiraud that music should "express the other-
wise inexpressible," and that he "did not feel tempted to
imitate what he admired in Wagner. The very; boldness and
bigness of Wagnerian utterance" was
antithetical to Debussy's own reticence and his.craving for subtlety in the expression of the
20Lang, Musicin Western Civilization, p. 1023.
2 1Vallas,. Claude Debussy, p. 52.
-
15
emotions.. Debussy responded to Wagner's sensuousness,the while he built up a feeling that the French neededa different order of lyrical clarity.22
Exposition niverselle..--In the company of Paul Dukas
and Robert Godet, Debussy visited the Exposition Universelle
of 1889-1890 in Paris. In booths, tents, and in the open
air along the Champs de Mars and the Esplanade des Invalides
of Paris, native Far Eastern musicians performed their music.
Debussy was reportedly fascinated by the Annamite and Javanese
orchestras, and he was particularly attracted by the Gamelang,
an instrumental group which accompanied the undulatory dancing
of the Bedayas. Except for a two-stringed instrument similar
in appearance to the viola, this small orchestra consisted
entirely of percussion instruments clappers,, rattlers, a
variety of bells and gongs, and tuned drums. The Oriental
pentatonic scale was the scale basically used by the Gamelang,
and successions of ninths in long tremolos were played on the
tuned percussion instruments,23
Debussy also attended two concerts of Russian music
during the Exposition Universelle at the Trocadero. These
two programs,. under the direction of Rimsky-Korsakoff, in-
cluded Cesar Cui's Marche Solennelle; Borodin's "Polovtsian.
Dances" from Prince Ior, and his symphonic sketch On he
Steppes of Central Asia; Balakiref' s Overture on Russian
22Thompson,, Debussy, Man and Artist,, p. 89.
23Ibid., p. 92.
-
16
Theme; Moussorgsky' s Night on Bare Mountain; Glazounof' s
tnka zin; works by Glibka and Dargomijsky; and Eimsky-Korsakof' s Antar mphony and Caprice &sanl.
It is not possible to cite accurate examples of the
influence of the Exposition Universelle,. the Gamelang, and
the Russian concerts on Debussy's works. But it is unques-
tionable that they did much toward hastening the revision of
Debussy' s musical aesthetics and opening new vistas for him in
terms of rhythm,, melody, and harmony.
Russian influences.--Saint-Sagns brought the piano edi-
tion of Moussorgsky's Boris odounoff back to Paris from a
concert tour in Russia in 1874. Being uninterested in the
work, Saint-Sagns passed it on to Jules de Brayer, manager
of the Lamoureaux concerts. Debussy acquired Boris from
de Brayer in 1889, but he is recorded to have taken little
interest in the work (the text being in Russian) until 1893,
the year in which he read the score through completely in
the home of Ernest Chausson at Lusancy.24
Moussorgsky's fBoris Godounoff served as a model or
formula in the construction of Pelldas et Mlisande, which
Debussy worked on between 1892 and 1902.. The influence of
Moussorgsky's "Elegy" from the song cycle Sunless (1869):
2 4 Vallas,, Claude Debussy, p. 60..
-
17
A ida4t io eo ro 3
' ~ ~~ ~341-a
r w gal
MOM-
'low
AZ
r
Fig, 2--oussorgsky, "Elegy" from the son cycleSunless,
is seen in the first measures of "Nuages, " from Debussy's
orchestral Nocturnes (1899):
2
@m "
1~e+
P? se r e .r:3~~-~~V
-1
P-1 b'z
Fig. 3--Debussy, "Nuages" from the Nocturnes
Moussorsky influenced Debussy' s use of the church modes and.extensive harmonic freedom.. Debussy has written concerning
dpiw
._..L
i
wo
r
-
18
the freedom of Moussorgsky' s art: "His art is free from arid
formulas. . *.a . It is like the art of an inquiring savage dis-
covering music step by step through his emotions.«" 2 5
Rimsky-Korsakof exerted a profound influence on Debussy
in terms of orchestration and instrumental contour. One of
the best examples of this influence is shown by comparing the
violin solo in the first bar of the second movement of Rimsky-
Korsakof' s Schehera~ade (1888):
Fig. 4--Rimsky-Korsakof, Scheherazade, violin solo inthe second movement.
with the following quotation of woodwinds in unison (page 17,
mm. 3,4) from Debussy's L'Apr;s-midi faune (1892):
Fig. 5--Debussy, L pres-midi d' faune
25Thompson, Debussy, Man and. Artist, p. 195.
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19
The strength of Borodin' s influence on the music of
both Debussy and Ravel is clearly revealed through comparing
the opening measures from the slow movement of Borodin's
String Quartet No. (1884):
Fig. 6--Borodin, String rI
with the third movement of the Debussy Quartet (p. 27, mm. 5-
10), and the slow movement of the Ravel Quartet (p. 26, mm.
14-18). The references cited from the Debussy and Ravel
Quartets are similar to the above example from Bor&din as
to their dreamy, meditative moods and softness .of texture.
The following quotation from J. G. Prod'Homme is prob-
ably the best summary of the general influences on Debussy
and the original character of his music:
Debussy's music breaks with accepted traditions,like every new and liberating movement, with classictradition,. as goes without saying; then, aa little less,with romantic tradition, for it bears traces of the
1. H;!-I r L u'
i
-
20
influence of Chopin and Liszt, and finally with theWagnerian system which it claims to repudiate, althoughPelleas is not wholly free of lgitmotiv. It takes itsauthority from the influence of the Russians: Moussorg-sky, Borodine, and, to a less degree, Balakireff.Debussy had found in Moussorgsky,. not mode, but a=formula which evidently was to conform to his tempera-ment. "All the system of Pelleas existed already inBoris Godounoff a quarter of a century earlier,"1. Aarnold has written,, "and with this system a-newlyricism freed from forms and formulas; this lyricismexpressed through similar sensibility, came to flowerin the work of the later Frenchman in a natural harmonywhich is marvellously original,"26
The Influence of Predecessors and Contemporarieson the Works of Ravel
Roland-Manuel,. Jean-Aubry. Andre Suars, and Emile
Vuillermoz have emphasized in their writings the extent to
which Spanish influence has pervaded Ravel' s music.27 Ravel' s
birthplace was the village of Ciboure, in the department of
the Basses-Pyrendes close to the Spanish border and the Basque
Coast. The early "Habanera" for two pianos, later included
in the Rapsodie Esaole for orchestra, the Pavane pour une
infante defunte, "Alborada del Gracioso" from the Miroirs,
the Chanson Espagnole, the opera L'HeureEsainiole, and his
song cycle Don jpichotte flQcine all illustrate the per-
sistence of Spanish influence on Ravel.
Maurice Ravel (1875-1937) was not less characteristically
French because of his southern descent, since upon this Spanish
26J. G. Prod'Homme, "Debussy," Musical Quarterly, IV(October, 1918), p. 559.
27Hommage h Maurice Ravel," La Revue Musicale (December,1938).
-
21
foundation was constructed his education at the Paris
Conservatoire, supplemented by contact with French music,
art, and literature..
Ravel's father,, an engineer and an amateur musician,
encouraged Maurice to take lessons in piano and harmony. He
began to study the piano at the age of seven with Henri Ghis,
and later he studied harmony under Charles-Rend, who recog-
nized the individual musical qualities of his student.
Following this period of preliminary musical training, Ravel
entered the Paris Conservatoire in 1889, at the age of four-
teen, remaining there for fifteen years. He was first ad-
mitted to Anthiome's preparatory piano class and two years
later graduated into Charles de B4 riot's class. He also
studied harmony under mile Pessard, . and,, from 1897,, counter-
point and fugue under Andrd Gedalge and composition under
Gabriel Faur6. 2 8
The chief factors in the formation of Ravel's creative
personality, aside from the regional stimulus of his native
Ciboure, have been the influences of Debussy and Faur6, to-
gether with Chabrier and Satie, upon Ravel's general com-
positional method. However, at the age of twenty Ravel al-
ready possessed a highly personal and harmonically independent
style.. This assumption is clearly illustrated in the Minuet
Antique (1895) for piano,, followed by the Sites Auriculaires
28 Oscar Thompson,, "Maurice Ravel," The InternationalCyclopedia of Music and Musicians (1939), p.a 1500.
-
22
(1895-1896) for two pianos, containing the "Habanera" which
was later incorporated into the Rgpdie Espan.tle,. he
Paie pour une Lfante defunte (1889), and J dEau (1901).
While Ravel was a young student at the Paris Conserva-
toire, he made the acquaintance of Erik Satie. Ravel was
affected by Satie's spirit of non-conformity and harmonic
exploration. Gedalge has reported that Ravel was an out-
standing student of counterpoint, but that he showed an incli-
nation for unorthodox harmonic combinations and delighted in
playing the unconventional works of Chabrier and Satie. Ravel
shocked his fellow-students in Pessard's harmony class by
playing Satie's "Sarabandes" and "Gymnopedies" when their
teacher was tardy. 2 9
In 1892 Ravel and Ricardo Vines, one of Ravel' s fellow-
students and life-long friend, visited Emmanuel Chabrier to
play Chabrier's Trois Valses Romantiques (1883) for two pianos.
The following phrase appears at the beginning of this work:
Fig. 7--Chabrier, Try QVags Romantiques
29Madeleine Goss, Bolero: The Life of Maurice Ravel(1940), p. 42.
-
23
In Ravel's Valses nobles Q entimentales (1911), written onthe model of Schubert's waltzes, this similar phrase is found
(p. 21, mm. 7,8):
Fig. 8--.Ravel, Valses nobles et sentimentales
It is quite evident (in comparing the examples quoted above)
that besides the example of Schubert, Ravel also had Chabrierin mind.
There is also an obvious connection between the hard,
dry staccato in Ravel' "Toccata" in the Tombeau _de pCoupein
(1917):
IFig. 9 -Ravel, "Toccata" from the Tombeau
de ouperin.t
and the beginning of Chabrier' s Bouree fantasque (1891):
I-j______t______I_
s
U
1 90 It 11
t:T
-
24
{Fig.. 10--Chabrier, Bour e fantasque
Chabrier's influence is also found in several earlier
works by Ravel. Sernade grotescue, written in 1893 (the
same year that Debussy completed his String Quartet), reveals
a strong resemblance to Chabrier's harmonic style. Ravel
stated that "Chabrier's music had had a definite effect on
the Pavane une Infante defunte and was one of the most
important factors of his early development.'30
It was to Gabriel Faure that Ravel owed the most posi-
tive influence of a permanent nature that he underwent at
the Paris Conservatoire. Faure' s influence was particularlyexerted in his classes, in which were found,, besides Ravel,
such students as Florent Schmitt, Roger Ducasse, Koechlin,
Aubert, and Voillermoz. Without the influence of Faure,
Ravel would have had more difficulty in freeing himself from
being overly influenced by Debussy, not because he con-
sciously followed Debussy' s work, but because both Debussy
30oss, Bolero: _The Life of Maurice Ravel, p. 39.
nowI 4 4
-
25
and Ravel were affected by common influences (together with
their revolt against the Wagnerian and Post-Romantic Schools
in preference for a truly French art) and reacted in much
the same way to these similar factors. 3 1
The influence of Faurg' s works on Ravel is most clearly
revealed in the following isolated,, yet representative,, ex-
ample from Faur' quartet (1897) for piano,, violin, viola,and cello (p. 4 , mm. 2-4):
-... .. cr. ." .f.s *
J." Im~l
P ,- ,.b,"-.P
Fig. ll-.Faure Quartet for piano, violin, viola andcello.
Close similarities to this quotation from Faure are found in
the first movement of Ravel's String uartet (i.e., similar
rhythmic and harmonic treatment, melodic contour, and formal
structure).
The composers who had the greatest indirect influence on
Ravel's musical aesthetics were Mozart, Schumann, Schubert,
3 1 Frank Onnen, Maurice Ravel, p. 20,
-
26
Liszt, Chopin, Weber, Saint-Satns, Borodin, and Rimsky-
Korsakof. But they proved to be less important than the
composers previously discussed.
Throughout his career, Ravel claimed that he was an
artistic descendent of Couperin.- A large portion of Ravel's
works concern the dance and bear out Ravel's affinity with
the past.. From the early Minuet anrique (1895) Ravel hasoccupied himself with the pavane,, tamborin, forlane, gigue,
ronde, rigaudon, waltz, tango, habanera, and malaguena. In
addition to the "gracious and touching compliment paid to
his 'ancestor' in Le Tombeau de Co erin," a list of Ravel's
works "would represent a veritable anthology of choreographic
forms. . . 3
The poets Mallarme, Verlaine, and Baudelaire "entranced
Ravel by their deep sensitivity to music." In literature as
well as in music Ravel was
more interested in how things were constructed than inthe finished product. He preferred depth to breadth,,and small details to large horizons. Poe's Phisphyof Composition and Poetic Principle attracted Ravelbecause of their analytic character.33
The extent to which Ravel was subjected to various in-
fluences and his resulting beliefs concerning music is stated
in the following testimony by Ravel as it was recorded by
David Ewen:
3 2 Eugene Hill,. "Maurice Ravel: 1875-1937," Modern Music,XV (March-April, 1938), p..141.
3 3 Goss, Bolero: The Life of Maurice Ravel, p., 46..
-
27
I am not a "modern composer" in the strictestsense of the term, because my music far from being"revolution," is rather "evolution.A Although I havealways been open-minded to new ideas in music (one ofmy violin sonatas contains a "Blues" movement) I havenever attempted in it to overthrow the accepted rulesof harmony and composition. On the contrary, j I havealways drawn liberally from the masters for my inspi-ration (I have never ceased studying Mozart), and mymusic, for the most part, is built upon the traditionsof the past and is an outgrowth of it. I am not a"modern composer" with a flair for writing radicalharmonies and disjointed counterpoint because I havenever been a slave to any one style of composition.Nor have I ever allied myself with any particularschool of music. I have always felt that a composershould put on paper what he feels and how he feels it--irrespective of what the current style of compositionmay be.. Great music, I have always felt,, must alwayscome from the heart. Any music created by techniqueand rains alone is not worth the paper it is writtenon.3*
Counter Influences of Debussy and Ravel
Debussy' s influence on Ravel is definitely perceptible
in many of Ravel' s works, too numerous and extensive to in-
clude in this short discussion. These influences are not,
however, disturbingly derivitive and do not detract from
Ravel' s individuality or his importance as a composer. One
of the best manifestations of this influence is revealed
through comparing the following statement from the final
movement of Debussy's String qartet (p.. 48, mm. 10-13):
3 4 David Ewen, "Maurice Ravel," Modern Composers, p. 89.
-
28
~%LIJAS _ ____ ____LAW - Am n
Fig. 12--Debussy,, rwa r uartet3 5
with the first movement of Ravel' sString ouartetf tenyears later (p. 6, mm. 9-10):
Fig. 13o--Ravel, String Quartet36
35Claude Debussy, ier a u pour 2 Violons, Alto etViolonoelle, Paris, Durand & Oie, Editeurs, 1929.
3 6 Maurice Ravel, 1 e Quatuor pour 2 Violons, Alto etViolonoelle, Paris, Durand & , Editeurs, 1910.
-r IT
- I b=6. b
, I I 11
...
..
-.
:.
..
..
..
..
-
29
The counter-influences of Ravel on several of Debussy's.
works after 1900 is clearly discernible. Debussy's Lindaraja
(1901), a composition for two pianos, is a habanera which
contains a C-sharp pedal tone surrounded by the novel harmonic
effects (i.e., unresolved seventh chords in similar motion,
parallel movement of fifths and fourths, and the use of the
pentatonic scale) which Ravel had employed in 1895 in the
"Habanera" from the Sites Auriculaires. The same harmonic
idiom of Ravel's "Habanera" ist again displayed throughout
Debussy's "Soiree dans Grenade" from Estampes (1903) for
piano. In 1907 Ravel composed his Rhapsodie Espapnole for
orchestra, into which he inserted the "Habahera," placing
beside that section of the score the date 1895, in order to
claim paternal rights to the early work.
A striking incident of the counter-influence of Ravel's
piano music on that of Debussy is found in "Pagodes" from
Debussy's Etap (1903), p. 7, m. 4:
Svq te"9'' "S. . .
-L. 4 11n 4
Fi.4-Dbss," Pagodes,11 from .q yeQs
3 7 Joseph Gerald. Brennan, "Maurice Ravel,," The CatholicWorld (May, 1938), P. 199.
-
30
The above example is quite similar to the following quotation
from the concluding measures of Ravel's Jeux d'Eau, publishedin 1902:
4"" a4- mw sow .-
OU i AliO"Ma- mo 4 a.4o
UI
A'
Fig. 15--Ravel, Jeux d'Eau
Ravel was no more of the school of Debussy than Bach
was of the school of Handel, or Schumann of the school of
Mendelssohn. It often happens that a combination of time,
place, and circumstance produces similar trains of thought
in two outstanding composers at approximately the same time.
The history of music is full of these pairs of names; for
example: Palestrina and Lassus, Handel and Bach,, Mozart and
Haydn. So, in the same way, Debussy and Ravel were the two
great representatives in the unfolding of this particular
period of musical thought in France.
-
CHAPTER III
HARMONIC ANALYSIS AND COMPARATIVE STUDY OF THE
DEBUSSY AND RAVEL STRING QUARTETS
Analysis of the Debu String uartet
Harmonic Equipment: Structure and Function
TABLE 1
HARMONIC MATERIAL IN THE DEBUSSY QUARTET
Movement Triads 7th Chords 9th Chords 11th Chords
First 313 414 76 4Second 129 181 49 .fThird 71 134 5 6Fourth 248 329 119 11
Total 761 1058 249 21
*Percentage 37 50 12 1
*Percentage in all tables is calculated within 1 per cent.
Seventh chords.--Approximately one half of the harmonic
equipment in Debussy's Q uartet is constructed of seventh
chords (as shown in Table 1). The bulk of the seventh chords,
employed are of three major types: minor-minor seventh1 chords,
major-minor seventh chords, and diminished-minor seventh chords.
m - minor; M - major; dim.. - diminished; Aug. - aug-mented; Fr. - French Seventh Chord (i.e., C-E-Gb-Bb; the
31
-
32
TABLE 2
SEVENTH CHORDS
Movement mm Im dim.m YIM dim Fr. mM Aug44
First 111 99 95 31 31 29 15 3Second 27 60 37 46 6 4 1 ,,Third 54 28 16 13 15 3 2 3Fourth 96 67 72 2 111
Total 288 254 220 125 97 38 19 17
Percentage 27 24 21 12 8 4 2 2
These three principal types of seventh chords are found: in
root position more than in the three inversions combined (see
Table 3). ..The uninverted sonority is generally maintained
throughout the composition, inversions being used principally
for passing material and in transitory sections.
The next most common seventh chords are the diminished-
minor seventh and the major-major seventh.. Both chords are
sufficiently common to give them definite value as a part of
the harmonic style of the quartet. These chords occur most
often in root position, but also in the other three inversions,
term French seventh chord is here used in preference to thedesignation French augmented sixth chord because the chordis found predominantly in root position); the first symbolrefers to the triad, the second to the interval of theseventh.
-
33
TABLE 3
INVERSIONS OF SEVENTH CHORDS
Minor-Minor Seventh ChordsI 0-0~
RootPosition
FirstInversion
SecondInversion
ThirdInversion
First 51 14 16 30Second 7 8 6 6Third 30 12 1 11Fourth 8 12
Total 151 47 31 59
Percentage 52 16 11 21
Major-Minor Seventh Chords
First 38 5 38 18Second 31 2 14 9Third 18 1 1 8Fourth _4. 6
Total 132 11 66 41
Percentage 52 4 26 18
Diminished-Minor Seventh Chords
First 47 23 20 5Second 32 5...Third 11 1 1 3Fourth 22
Total 113 46 43 21
Percentage 51 21 20 8
Movement
-
34
The chord structure C-E-Gb~b, derived from the whole-
tone scale (i.e., C-*D- E-F# jG#r wA-A '),is f ound
most frequently in root position, but it is also used in the
first inversion.. Since the bass note is usually the funda-mental of the chord,. it appears that Debussy treated it as
a seventh chord (for convenience this chord is termed the
French seventh chord, as in Table 2). In the first movement
(p. 11, mm. 7-8) the chord is seen with the enharmonic
spelling 0-EF
Fig. 16--Debussy, StrinR Quartet, p. 1i, mm. 7-8
Triads,-Triads form the chordal structure next in im-
portance to the seventh chords. They consist mainly of the
f our common types (i.e., major,. minor, augmented, and
diminished) .
MOW moT W flow fo- l flflduo* 4-
MOW 40010 MOW-~~_ _ _ _ _ _ _ _ _ _ _ _
IL.doom 41W 1 wLow MOW dD D U 5 Ptow -"TLTOWT
-
35
TABLE 4
TRIADS
Movement Major Minor Augmented Diminished
First 120 137 31 25Second 80 25 21 3Third 25 28 11 7Fourth i '241 10
Total 350 262 104 45
Percentage 45 34 14 7
The major triad is the most frequently employed sonority in
the entire quartet. It is usually found in fundamental posi-
tion; the first inversion is next frequent, and it is used
occasionally in the second inversion as a passing chord.
TABLE 5
INVERSIONS OF TRIADS
Major Triads
Movement Root First SecondPosition Inversion Inversion
First 70 32 18Second 77 .. 3Third 24 1 ..Fourth 86 21 18
Total 257 54 39
Percentage 74 15 11
-
36
TABLE 5--continued
Minor Triads
Movement Root First SecondPosition Inversion Inversion
First 79 45 13Second 25...Third 23 3 2Fourth _5.2_10
Total 186 58 18
Percentage 71 22 7
Augmented Triads
First 17 5 9Second 7 7 7Third 7 4Fourth 10 6
Total 56 22 26
Percentage 54 21 25
Diminished Triads
First 12 11 2Second 2 .1Third 3 2 2Fourth _6|| g4
Total 23 13 9
Percentage 49 31 20
The augmented triad is moderately common, occurring
most frequently in fundamental position, but it is also
-
37
found in both inversions.: The augmented triad has two func-
tions in this quartet: the dominant effect, and as an inde-
pendent entity in parallel treatment (as in the following
example):
*L *
"U
Fig. l1h.-Debussy, Stin quartet, p. 34, m. 10
The above example contains three augmented triads constructed
on B, A, and G~, respectively. The cycle of harmonic chance
is completed six times (indicated by vertical dotted lines)
within the one-.and-a-half measures.
Ninth chords.--Approximately two-thirds of the ninth
chords in the quartet are the major-minor-inajor type, con-
monly referred to as the dominant ninth chord (i. e., as= the
dominant ninth chord in 0 ma jor: G-.B-D-F-A ).
-
38
TABLE 5
NINTH CHORDS
Movement MmM* Mmm mMM MMM imm dim.nu mMm
First 50 8 6 4 2 3 3Second 30 7 2 3 3 2 2Third 2 2. .. 1 2...Fourth _8 8 _6 _54 .2,
Total 166 25 16 14 12 9 7
Percentage 67 10 7 6 5 3 2
*The third symbol refers tochord, the first and secondand seventh substructure.
the interval of the ninth of thesymbols referring to the triad
The dominant ninth chord (i.e., major-minor-major) is f found
most consistently in root position and occasionally in second
or third inversions:
TABLE 6
INVERSIONS OF THE DOMINANT NINTH CHORDS
Movement Root First Second ThirdPosition Inversion Inversion Inversion
First 32 5 7 6Second 18 1 10 4Third 1 .. ..Fourth 37 4 20 21
Total 88 10 37 31
Percentage 53 6 22 19
-
39
Eleventh chords.--The eleventh chord is not present in
sufficient quantity in the Debussy Quartet to be considered
an important feature of harmonic style. The two principal
types that are found differ only in the seventh-chord sub-
structure, one containing the major-minor seventh chord, the
other based upon the minor-minor seventh chord. The ninth is
major and the eleventh is perfect in both chord-types.
Incomplete nrities.--There is considerable use of
monodic writing in which Debussy uses various combinations
of unison and octave doubling in the parts. All four instru-
ments in unison or in octave doublings are employed in the
closing section of the first movement (p. 15, mm. 4-12). The
solo instrument is used in the quartet to introduce new sec-
tions (as in the following example):
-.
AT- b% L V IF
IL Iff I IV--
10
IF qwI*- I in log M L_ I T.3 a, I
k- _U _MW
Fig. 18--Debussy,. tr Quartet, p. 33, mm., 15-19
I I I] fi
OOOMN~b f y '4
qqk r
-
40
In the above example the passage begins with the 'cello pre-
senting fragments of diminished seventh chords constructed
on B, B3, and A, respectively; and then outlining the complete
diminished seventh chord on B. The identical harmonic scheme
is presented two measures afterward in a 'cello-viola duet,
the last part of the measure containing the B diminished
seventh chord arpeggiated in contrary motion. Two measures
later the complete quartet presents the series of diminished
seventh chords, beginning on the F# diminished seventh chord,
with the chord being arpeggiated in the last part of the
measure.
Incomplete sonorities are also used to "taper" away
from a full-sounding passage. The procedure employed in the
previous example is here reversed, with augmented triads
filtering down to one note (as seen in the following example):
U I
Fig. 19--Debussy,, Strin quartet, p. 35, mm. 1-3
-
41
Pedal effects.--In the first movement (beginning on
page 10, measure 1) the 'cello sounds an Ab-D pedal figure,
with sparing chromatic alteration of the Ab to A and Bb, and
lasting fifteen measures. A thirty-five measure G- pedal-
point is found in the final movement (beginning on page 42,
measure 11). These two pedals function alternately as har-
monic and non-harmonic material to the upper parts. Most of
the pedal effects in the work, however, are brief and har-
monic in function, occurring under changing harmonies of
which the pedal is usually a chord member. There are also
examples of inner pedal points (viola part on p. 39, mm, 15-
21, and the viola part on p. 42, mm. 11-18), and ostinato
figures as, for example, the following 'cello part found in
the first movement (see following example):
Fig. 20--Debussy, Strin Quartet p. 26, mm. 2-5
Formal Features
First movement.--The first movement of the Debussy Strin
quartet is in modified sonata-allegro form. The exposition
presents two themes with each theme containing a second part.
The generating theme (or first theme part 1) forms the melodic
and rhythmic basis for the thematic material of the first,
-
42
second., and fourth movements of the quartet. The first theme
part 2 appears only once in the entire movement. A third
theme is introduced in the development section and is devel-
oped together with the generating theme. The recapitulation
is curtailed by the omission of all themes except the first
part of the first theme.
The generating theme is first stated by the first violin
in the opening two measures of the quartet:
D I I&
LOIL44 4- 1 ow .
IL LAL I I 1 I I IfL I
Fig. 21--Debussy, Strip quartet, p. 1, mm. 1-2 (firststatement of the generating theme).
The flattened second degree (Ab), recognizing G as being the
tonal center2 of the first section, imparts the flavor of the
Phrygian mode, which is retained throughout much of the first
2The tonal center is that tone in a theme around whichother tones seem to gravitate; a major or minor key feelingis not necessarily inferred.
-
43
movement and, to alesser degree, in the second and fourth
movements.
The transition leading to a repetition of the first part
of the first theme is simply a rhythmic arpeggiation of the
G minor triad. This repetition of the initial theme is fol-
lowed by descending sequential patterns derived from the
first theme, preparing the way for the entrance of the second
part of the first theme:
eC x v$fr wf d fo"+etnu
Fig. 22--Debussy, String Quartet, p. 1, m. 13; p. 2,m, 1 (first theme, part 2).
The first theme3 returns (p. 3, m. 2) and is extended by
ascending sequential patterns derived again from the gener-
ating theme.
The second theme part 1 appears with Bb as the tonal
center, again employing the Phrygian mode:
Fig. 23--Debussy, String Quartet, p. 3, m. 15; p. 4,mm. 1-3 (second theme, part 1).
3 Further reference to the first theme concerns the firsttheme part 1,, as the first theme part 2 is not used again.
-
44
The first part of the second theme is repeated with no altera-&
tions and moves on to the second theme part 2:
e 'avwAg e t + peuu peu
Fig. 24--Debussy, strin. quartet, p. 4, m, 12; p. 5,M. 1 (second theme, part 2).
Ascending sequential treatment and octave doublings, together
with an increase in volume from piano to fortissimo, are used
in building a climax for the entrance of the development
section of the first movement:
J 1 W,
Fig. 25--Debussy, Str quartet, p. 5, mm. 10-11 (state-ment of the initial theme in the development section).
The first theme is stated by the 'cello with F# the tonal cen-
ter, accompanied by sustained tones in the upper voices. In
the next measure a third theme is presented for the first time
by the first violin:
-
45
e4 .4 xpvgerr
Fig. 26-.Debussy, $4n Quartet, p. 5, mm. 12-13(first statement of the third theme).
This theme is extended with syncopated rhythmic treatment and
then repeated one-half step higher (with Bb the tonal center).
Following further extension of the third theme, culminating
in arpeggiated triplets in all four instruments, the initial
theme is stated with double stopping in all four parts (with
Bb the tonal center) :
(I
TI I
tit !' > >'
'.5 L _ _ _ _ _ _ _ _ _7 J 11I ___ _____ _____
I I 1UP,
Fig.. 27--Debussy, Strin Quartet, p. 6, mm. 10-1l
The first theme continues in the first violin and undergoes
considerable development. The third theme appears (beginning
on p. 7, m., 11) with G the tonal center and is developed
7-TJ., rT
lion bt 1 0 ILI"I A I diOwl
I T
T
ni ir i.:
r i i' S
I
-
46
even more extensively than the first theme proper. After
a stormy statement with all instruments sounding arpeggiated
triplets (fortissimo) the generating theme appears in a con-
trastingly quiet section played by the viola above a D-Ab
pedal in the 'cello. The section closes with triplet figures
in all parts, establishing a climax for the beginning of the
recapitulation.
The recapitulation appears in the original mode (begin-
ning on p. 11, m. 9) and is shortened by the exclusion of the
second theme. The first theme receives further development,
and the first movement ends in a brilliant coda with all four
instruments in unison, except for the concluding G minor
chords (with double stopping in all four instruments).
Fig. 28-Debussy, Strin Quartet,. 15, m. 4
-
47
TABLE 8
TONAL CENTERS IN THE FIRST MOVEMENTOF THE DEBUSSY STRING QUARTET
Exposition
First Theme Second Theme
Part 1 Part 2 Part 1 Part 2
G Bb Bb c
Development Recapitulation
FG G GQ D,,: Bb
Second movement,--The second movement of the Debussy
Comet (Assez vif et bien rytme; 112) is a scherzo in
ternary form. The principal thematic material in this move-
ment is derived from the generating theme of the first move-
ment. The opening theme of the second movement is introduced
in the low register of the viola after four pizzicati G major
chords:
Fig. 29--Debussy, Strinp Quartet, 2nd movement, p. 16,mm. 3-4 (first theme of the second movement).
N _ r 1 r I i I
Jol
IftAmoms T 0 - 1- L.A . .e ---
-
48
The theme is here again cast in the Phrygian mode, with the
flattened second degree (Ab). The accompanying pizzicati
form contrasting rhythmic background,, as in the following
example:
I1I'ON
1
Awl~V 'Vww
Fig. 30--Debussy, String quartet, 2nd movement, p. 16,mm. 9-0.K.
The middle section (appearing in the first violin begin-
ning on p. 18, m. 16) is constructed by the transformation of
the generating theme by augmentation. The intervals of this
statement of the theme are identical with those of the opening
theme of the second movement :
401#Wd ___ 100a - 0 AIft Auk.Lie
P etcprerJ~f
Fig. 31--Debussy, Stri Quartet,. 2nd movement, p. 18,mm. 16-19 (first transformation of the generating theme).
-p U - +3
PP I610I
P zt ,
Ll
I
-
49
After six measures of transitory material, constructed
largely of arpeggiation of the Eb major chord, the theme quoted
above is repeated identically as it appeared in the previous
example (Figure 31).
Following eight measures of transition,, the theme appears
in the viola in the form in which it was employed at the be-
ginning of the second movement (with the exception of being an
octave higher in the present statement). In this statement
the theme is accompanied by a counter melody in the "Cello,
Fig. 32--Debussy, 3trin Quartet, 2nd movement, p. 20,mm. 11-12 (restatement of the opening theme).
In its next appearance the theme is stated in an orna-
mented transformation with Gb as the tonal center (see Figure
33), and is presented four measures later at the relative.
dominant (Db).
I am al ii ii II I I -- -.
Fig. 33--Debussy, String Quartet, I,2nd movement,, p. 22,mm. 1-3 (second transformation of the generating theme).
-
50
The next transformation of the theme is found with the
following alterations of the generating theme (with the tonal
center F#)
Fig. 34--Debussy, String Quartet, 2nd movement, p. 22,mm. 13-16 (third transformation of the generating theme).
The theme (in the exact form in which it appears in the above
example,, Figure 34) is repeated after four measures of tran-
sition.
The final section (with the tonal center G throughout
this passage to the end of the movement) employs the genera-
ting theme in extensive pizzicati treatment:
Fig. 35--Debussy, Strip quartet, 2nd movement,. p. 24,mm. 5-6 (fourth transformation of the generating theme).
TABLE 9
TONAL CENTERS IN THE SECOND MOVEMENTOF THE DEBUSSY QUARTET
1st Theme 1st Tr.* Return 2nd Tr. 3rd Tr. 4th Tr.
G Eb C IGG __*Tr. refers to the various transformations of the theme.
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51
Third movement. -This movement (Andantino, doucement
expressif: 80) is not thematically related to the other
movements of the quartet (with the possible exception of
the first violin part of the first consequent phrase; see
Figure 37). The third movement is constructed of three
themes presented in the following order: first theme, second
theme, third theme, second theme, first theme.
The first theme (see Figure 36) is purely lyrical in
character and is widely contrasting to the thematic material
in the other three movements of the quartet.
FIg,-36-Deus y, r. Ire, r oeenp 7
me ' V 41 -AlT
~ I I.
Fig. 5&--Debussy, 5tri.n Qaret 3rd movement, p. 27,mm. 5-6 (first theme of the third movement).
This theme (in Db) receives a two measure complement and is
immediately repeated in the same form as it originally ap-
peared. The consequent phrase which follows resembles the
generating theme in the first group of three notes of the
-
52
first measure and in the first and second groups of three
notes of the second measure
c-ve -I
Fig. 37--Debussy,, String quartet, 3rd movement, p. 27,mm. 11-12 (first consequent theme).
The second theme is derived from the second measure of
the first theme of the third movement (compare the first
measure of Fig. 38 with the second measure of Fig. 36).
Fig. 38--Debussy, String quartet, 3rd movement, p. 28,mm. 11-14 (second theme).
The second theme is extended in the viola through two subse-
quent phrases, later receiving contrapuntal treatment in the
first and second violins (p.. 29, mm. 4-10).
The third theme is introduced by the viola:
ev w cd e H or e s ____
Fig..39--Debussy, String Quartet, 3rd movement, p. 29,mm. 11-14 (third theme).
-
53
This theme is answered by the 'cello (p. 29, m. 18) at the
fifth below (E), the 'cello line continuing (at the close of
the answer) with a restatement of the theme (as it appeared
in Figure 39), doubled an octave higher by the second violin
(p. 30, m.4).
After considerable extension and development of the
third theme, the second theme returns (p. 31, m. 20, with E
the tonal center, as it was originally introduced).
The first theme reappears (p. 32, m..7) in the original
key of Db.
TABLE 10
TONAL CENTERS IN THE THIRD MOVEMENTOF THE DEBUSSY QUARTET
1st Theme 2nd Theme 3rd Theme 2nd Theme let Theme
Db E B E B E Db
Fourth movement.--The fourteen measure introduction to
the fourth movement, beginning with the solo line in the 'cello
(see Figure 40), is constructed of materials from the genera-
ting theme of the first movement.
Fig. 40--Debussy, Strin quartet, 4th movement, p. 33,mm. 1-2.
-
54
The first theme of the fourth movement (see Figure 41) is
strongly reminiscent of the first theme of the second move-
ment and (as was the first theme of the second movement) is
also derived from the generating theme.
Fig. 41--Debussy, String Quartet, 4th movement, p. 33,mm. 15-16.
This theme,. as quoted in the above example (Figure 41), is
taken up by the viola (p.. 33, m. 17) and by the first and
second violins (p.34, m.. 2). The first section ends with a
descending sequence of the first theme, the texture contract-
ing to a single tone .(Ab).
The second theme (see Figure 42) is constructed of new
thematic material and has little affinity with the generating
theme.
Fig. 42--Debussy, trying Quartet, 4th movement, p. 35,mm. 4-5.
The second measure of the second theme is used in the
construction of the third theme:
-
55
- 1 "* ' .
Fig. 43--Debussy, String _Quartet, 4th movement, p. 36,mm. 1-3.
The generating theme appears in free augmentation:
dou, 4 excpre.rr
Fig. 44--Debussy, String quartet, 4th movement, p. 39,mm. 15-19.
and later in syncopated augmentation:
o .ba % I IAM A4l U I U I e
...
Fig. 45--Debussy, Strin uartet, 4th movement, p. 40,mm. 10-12.
In the first violin part (see Figure 46) the generating
theme is found in octaves, again treated in free augmentation.
mom
ff aec p:asbov e t+vex sou +etvFig. 46--Debussy, String Quartet, 4th movement, p. 42,
mm. 11-15.
/" ,
... .
oo I
lot
%Wool
I
I I ' -I
-
56
The second theme of the fourth movement returns (begin-
ning on p. 44, m. 8) and receives considerable development.
The closing section of the final movement begins with
the following statement of the generating theme, stated in
the original key of G and retaining the flavor of the
Phrygian mode (with the flattened second, Ab).
dr.1~
12
p 20
n n > > >
TT I
sowMoto' arm, too,
Fig., 47-.-.Debussy, String quartet, 4th movement, p. 46,mm. 1-2.
The first theme reappears at the beginning of the coda
(p. 49, m. 12) and the movement ends with a swift ascending
scale and a fortissimo G major chord.
0--. d - I I
-
57
TABLE 11
TONAL CENTERS IN THE FOURTH MOVEMENTOF THE DEBUSSY QUARTET
Intro. 1st Th. 2nd Th. 3rd. Th. Gen.a Th. 2nd Th. Cl. Sec.b
Db Ab G G E GGenerating theme. Closing section.
Analysis of the Ravel String Juartet
Harmonic Equipment: Structure and Function
TABLE 12
HARMONIC MATERIAL IN THE RAVEL QUARTET
Movement riads 7th Chords 9th Chords 11th Chords 13th Chords
First 89 169 109 46Second 128 96 58 28 2Third 37 57 34 36Fourth 123 88 104 227
Total 377 410 305 142 9
Percentage 30 33 25 11 1
Seventh chords.--Approximately one third of the vertical
sonorities in the Ravel Quartet are constructed of seventh
chords (see Table 12). The majority of the seventh chords
employed are comprised of four major types. (see Table 13):
major-major seventh chords,. minor-minor seventh chords, dimin-
ished-minor seventh chords, and major-minor seventh chords.
-
58
TABLE 13
SEVENTH CHORDS
Movement MM mm dam Mm mM dd Fr. Abm A md. dM
First 53 44 40 24 .. 3 .. . 2 3Second 44 3 21 22 .. 1 3 1 .. .. 1Third 2 13 7 32 .. 1 2 .. .. .. .Fourth 14 33 19 8 8 ... 4 2
Total 113 93 87 86 8 5 5 5 4 3 1
Percentage 28 23 21 21 2 1 1 1 1 ..ad Rdi i dv A-U m" LJ.. n AI s *
Approximately sixty per cent of these four principal types
of seventh chords appear in root position in the Ravel Quartet,(compare Table 14 with Table 3 of the Debussy Quartet).
TABLE 14
INVERSIONS OF SEVENTH CHORDS
Major-Major Seventh Chords
Movement RootPosition
FirstInversion
SecondInversion
ThirdInversion
First 23 16 2 12Second 33 4 4 3Third 2 .. ....Fourth 9 3 2 ..
Total 67 23 8 15
Percentage 59 21 7 13
4% .wCV 'J.WW*
-
59
TABLE 14--continued
Minor-Minor Seventh Chords
Movement Root First Second ThirdPosition Inversion Inversion Inversion
First 26 11 2 5Second 1 1 1Third 9 .. .. 4Fourth 22 3 3 5
Total 57 15 6 15
Percentage 61 16 7 16
Diminished-Minor Seventh Chords
First 30 5 1 4Second 12 3 5 1Third 4 2 1Fourth 11 5 1 2
Total 53 17 9 8
Percentage 61 20 10 9
Major-Minor Seventh Chords
First 12 4 8Second 18 3 1Third 26 .. 4 2Fourth 3 4 1
Total 59 15 12
Percentage 69 18 13
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60
Triads.--The chordal structure second in importance
(by a margin of three per cent; see Table 12) to the seventh
chord is the triad. The major and minor triad is frequently
employed in the Ravel uat, the diminished triad is in-
frequent, and the augmented triad is rarely used.
TABLE 15
TRIADS
Movement Major Minor Diminished Augmented
First 46 32 9 2Second 86 40 .. 2Third 25 9 3 ..Fourth 74 34 10 5
Total 231 115 22 9
Percentage 61 31 6 2
The major triad is the most frequently used sonority in
the Ravel Quartet (231 major triads),, the minor triad is
second (115 minor triads, as seen in Table 15), and the major-
major seventh chord is third in importance (113 major-major
seventh chords, as shown in Table 14).
Approximately sixty per cent of the triads in the Ravel
quartet are found in root position, with the second inversion
next frequent (see Table 5).
-
61
TABLE 16
INVERSIONS OF TRIADS
Major Triads
Movement Root First SecondPosition Inversion Inversion
First 40 3 3Second 61 .. 25Third 24 1 ..Fourth 66 5 3
Total 191 9 31
Percentage 83 4 13
Minor Triads
First 25 3 4Second 25 8 7Third 7 1 1Fourth 25 8 1
Total 82 20 13
Percentage 71 17 12
Ninth cham .-- Approximately one half of the ninth chords
in the Ravel quartet are of the following two types: major-
minor-major (dominant ninth chord) and major-minor-minor.
-
62
TABLE 17
NINTH CHORDS
Movement MmM Mmm mm inM 1M Mm dm, dinM Mdi AMm AMM
First 11 32 16 9 5 12 7 6 4 4 3Second 15 19 8 3 .. 4 .. 1 2 .. 2Third 5 5 4 14 2 2 .. .. .. 1 1Fourth 41 12 6 5 16 2 7 5 6 6 2
Total 72 68 34 31 23 20 14 12 12 11 8
Percentage 24 22 11 10 8 7 5 4 4 3 2
The two principal ninth chords (major-minor-major and
major-minor-minor) appear consistently in root position, as
shown in the following table:
TABLE 18
INVERSIONS OF NINTH CHORDS
Major-Minor-Major Ninth
Movement Root First Second Third Fourth.Position Inversion Inversion Inversion Inversion
First 8 ,. .. .. 3Second 13 .. .. 2 ..Third 4 1 .. .. .Fourth 27 7 .. 7
Total 52 1 7 2 10
Percentage 72 1 10 2 15
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63
Major-Minor-Minor Ninth Chords
First 18 5 3 5 1Second 14 .. 1 3 1Third 5"..". .. ..Fourth 6 3 1 .. 2
Total 43 8 5 8 4
Percentage 64 12 7 12 5
Eleventh cam .--The eleventh chord is employed next in
importance to the ninth chord in the Ravel quartet (see Table
12). No single type of eleventh chord, however, is employed
frequently enough to be termed the principal type used in the
quartet.
TABLE 19
ELEVENTH CHORDS
Movement Mm mmmM mMm MMmm Mmmx Mm MMmM dxmm MM0
First 15 9 5 1 6 4 .. 3 4 .Second .. 7 3 2 5 4 1 3 1 2Third .. 2 8 3 4 4 9 2 .. 4Fourth 8 2 3 10 1 2 4 .. 2 1
Total 23 20 19 16 16 14 14 8 7 7
Percentage 17 14 13 11 11 9 9 6 5 5
The eleventh chord is found most frequently in root
position, but it is used occasionally in the first and second
inversions, rarely in the fourth and fifth inversions.
-
64
Thirteenth chords.--The thirteenth chord is not used in
sufficient quantity in the Ravel QAtet to be considered an
important feature of harmonic style. The principal type of
thirteenth chord is the major-minor-major-minor-major (i.e.,
Whole-tone scale.--In the first movement a whole-tone
pedal is used,. descending from Bb to E (p. 5, mm. 5-19); and
again, in the same treatment, a pedal descending from C to
Eb (p. 13, mm. 3-14). The following example shows the first
theme played by the first violin over two whole-tone chords
(i.e., C-Db-Eb-F, and Gb-Ab-Bb.Cb), the same two chords being
repeated in the second measure:
, 1 r1 I I I
01
Fig. 48--Ravel, 5trin Quartet, p. 10, mm. 12-13 (whole-tone passage).
-
65
Formal Features
First movement.- -The first movement of the Ravel quartetis in strict sonata-allegro form (except for the introduction
of a new theme in the development section). The exposition
consists of two themes, the first of which appears in two parts.
The thematic material presented in the exposition recurs in the
same order in the recapitulation. The coda is constructed with
the material from the first theme and, to a lesser degree, the
second theme.
Part one of the first theme is introduced by the first
violin and comprises the initial four measures of the quartet:
-A-*
Af
Fig.. 49-..Ravel, S n u , 1st movement, p. 1,, mm. 1-4
After six measures of transition constructed of material
derived from the opening theme, part one of the first theme is
r
-
66
repeated. The second part of the first theme is again taken
from the initial theme and takes the following shape:
1'? es.r.
Fig. 50--Ravel, Strin Quartet,1st movement,. p. 2,Ipp 7-9.
The first four notes (A-G-A-E) are the same as the first four
notes of the opening theme. Although barred in three measures
of 4/4, the first theme, part two,, takes the form of two meas-
ures of 3/2 (as ind iated by the vertical dotted lines in
Figure 50).
In the ensuing section, part one of the first theme is
treated in fragmentary form, usually with only the first
measure being stated (as pg 2, m., 14) or with the statement
of the first two measures (as p. 3,, mm. 3-4).
The second theme is rhythmically contrasting to the
first theme in its use of the triplet figure (see Figure 51).
However, the second measure of the second theme employ s the
same rhythmic- figure as that of the initial theme.
-
67
L1
to"*
~Ii~l~ 0- am-
I.ll
4 sa
Fig. 51--Ravel, String Quartet, 1st movement, p. 4,mm. 9-11.
The second theme is later taken up by the second violin with
the following counter-melody in the first violin
y:*covae :
Fig. 52--Ravel, Str , 1st movement, p. 4,mm. 17-18.
The development section is introduced by material derived
from the third measure of the second subject (compare m. 1
of Figure 51 with the first two measures of the development
section, p. 5, mm. 5-6). The statement of the first part of
ii vzizt
P r3 ~Q.QpI Iz
PP 3
L -Alt
-I
I
"^ .e.r.... -
III 1111 '
-t-
i3
W--V
Li 17L;J
-
68
the first subject is deferred until the fourth measure of the
development section, introduced in the second violin:
deIdaeNdekov '-
Fig. 53.--Ravel, Strin ar , 1st movement, p. 5,mm. 8-9.
A third theme, appearing for the first time in the
development section, is stated by the viola:
7p
Fig. 54-Ravel, S r '4uQart t, 1st movement,p.,mm. 2-8.
The third theme i heard for the second and final time (p. 6,mm. 9-14) a the interval of the minor third above (Eb) inthe first violin,, doubled two octaves lower b the ' cello.
Only fragmentsof the second theme are heard inthe
development section (as p. 7, ,a1t-et1). The first theme,
part one, is again heard (beginning on p. 8, m. 2) and is
doom
so
pp ,a oooow
-
69
used in building the climax of the first movement. The
climax is achieved by ascending melodic lines (in tremolos,
accelerando poco a poco) and rising intensity levels from
piano to fortississimo (fff).
The recapitulation (beginning on p. 9, m. 1) employs
the same thematic material as the exposition in identical
sequence (first theme part one, first theme part two, frag-
mentary return of first theme part one, third theme). The
same number of measures is devoted to each theme, and each
theme is stated in the same key as it appeared in the exposi-
tion, with the exception of the fragmentary return of part
one of the first theme (in A in the exposition; in C in the
recapitulation).
In the coda the initial theme begins one half step
higher (A#) than it appeared at the beginning of the move-
ment.
Fig. 55--Ravel, rin; art t, 1st movement,. p. 13,mm. 6-9.
Fragments of the second theme are heard in the coda and the
movement ends in the original key of F.
-
70
TABLE 20
TONAL CENTERS IN THE FIRST MOVEMENTOF THE RAVEL QIJARTET
Expos ition
First Theme Return Second Theme
Part Part 2
F A A D
Development Recapitulation
D F# F A C D F
Second movement,-_-The second movement is a scherzo con-
sisting of three basic themes, the third theme forming a
broadly contrasting middle section. The 6/8 and 3/4 begin-
nine results in cross accents (as seen in Figure 56).
The scherzo has a pizzicato opening with the first theme
appearing in the first violin:
-
71
pt".
7wSoPfvJ,
,
"IV
Fig. 56--Ravel,, Strin Qartet, 2nd movement, p. 14,mm. 1-2.
The second theme is stated (with the tonal center 0#)
following only twelve measures of the first theme (see Fig-
ure 57). The second theme is then repeated in the viola
(p. 14, m. 17 through p. 15, m. 3) at two octaves below the
first statement.
ww%'or o CAM 4om
Fig. 57-.Ravel, Str uartet, 2nd movement, p.. 14,mm. 13-16.
The first theme is restated (p. 16, mm. 4-16),, retaining
the same length and tonal center (A) in which it first appeared.
At the close of this restatement of the first theme, the second
I 'UJw
" r TI T..
I PP i~hcl~
-
72
theme recurs,,maintaining the original form (i.e., stated in
the first violin, p.. 16, mm. 16-18, and repeated two octaves
lower in the viola, p. 17, mm. 2-4). In this statement, howe
ever, the tonal center is lowered one half step (from the C#in the first statement to C in the second).
The middle section of the movement is cast in 3/4 and
is to be played very slowly (Lent: 46). The third theme,
appearing at the beginning of the middle section (see Fig-
ure 58) is found in the 'cello.
+'es QxprErI*
Fig. 58--Ravel, Strin utet, 2nd movement, p. 18,mm. 20-24.
The 'cello part (Figure 58) is higher than the second violin
and viola accompaniment (the viola being above the second
violin). The third theme is then taken up by the viola (begin-
ning on p. 19, m. 2).
The next section of the movement employs fragmentary
treatment of the second theme (p. 19, mm. 11-18, and p. 20,
mm. 1-3) and the first theme (p. 20, mm. 4-8).
In the closing part of the middle section the third
theme reappears in the first violin with the first theme
in the second violin:
-
73
W L
re
Fig. 59--Ravel, String Quartet,, 2nd, movement, p. 21,mm. 1-2.
The recapitulation (beginning on p. 23, m. 7) presents
the first theme and the second theme in their original forms
(retaining the initial tonal centers of the two themes, A
and #, respectively). The second theme is extended into
the codetta (p. 25, mm..15-21), which also employs material
from the first theme, and the scherzo ends in G (the original
key of the movement).
-
74
TABLE 21
TONAL CENTERS IN THE SECOND MOVEMENTOF THE RAVEL QUARTET
l t Th.. 2nd Ph. 1st Th. 2nd Th. 3rd Th.j let Th. 2nd Th
A _ _A [ I) F A
Third movement.--The third movement is rhapsodic in char-
acter, with six quotations of the first two measures from the
first theme in the first movement. Three new themes appear
in this movement (in the order: first theme, second theme,
first theme, third theme, first theme); however, most of the
melodic material is derived from the first theme of the first
movement.
The first theme appears (tree lent: 44) following an
introduction melodically constructed from the first three
notes of the first theme of the first movement (see the viola
part,, p. 26, mm. 1-2). The first theme is presented in the
viola with a counter-melody in the second violin:
to ' I- _____
vIlI a IA- id n I II14WP w _____
+vQS epvQssr+-
Fig. 60--Ravel, Strinp quartet, 3rd movement, p. 26,mm. 14-17.
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75
The first theme is followed by a statement of the first two
measures of the first theme in the first movement.
Following a five-measure transition and another two-
measure quotation of the first theme of the first movement
(p. 27, mm. 6-7), the second theme is again found in the
viola, with a counter-melody once more in the second violin:
Fig. 61--Ravel,, ,trin Q,uartet, 3rd movement, p. 27,mm.. 9-12.
The first theme returns (p. 28, mm. 2-5) and is immedi-
ately followed by another statement of the opening two meas-
ures of the first theme from the first movement (p. 28, mm.
6-7). The ensuing section (p. 28, mm. 9-20,: and p. 29, mm.
1-5) is constructed of the materials from the introduction to
the third movement. The third theme is introduced in the
second violin:
Fig. 62--Ravel, trip Qfuartet, 3rd movement,} p. 29,mm. 6-8.
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76
The answer to the third theme is found in the first violin
(p. 30, mm.. 1-3) at the fifth above (G). The third theme
receives considerable exten