Claude Debussy, Contrapuntiste Malgr Lui

Author(s): Peter DeLone

Reviewed work(s):
Source: College Music Symposium, Vol. 17, No. 2 (Fall, 1977), pp. 48-63
Published by: College Music Society
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New Approaches
toAnalysis

Claude Debussy,

Contrapuntiste
malgrlui
Peter DeLone
Indiana University,
Bloomington

have long acknowledged the harmonicresourcefulness

and techniquesof Debussy.There are fewwho questionhis significant contributions
to the expansionof and subsequentbreak with functional tonalitythat markedthe beginningof this century.1
On the other
hand, it is quite evidentthat Debussy disdainedlearnedcontrapuntaldevices and even expressedreservations
about Bach's music,such as the folwords
written
to
his
lowing
publisher:
NeveredittheSonatasforviolinand pianoofJ.S. Bach on a rainySuntheabove,and I feeltheraininside.Whenthe
day.I'vejustfinished
revising
old Saxoncantorhas no ideas,he setsoffon anything
and is trulymerciless.
In short,he is unbearable
That'sreallysomeexceptwhenhe is admirable.
thing,
you'llsay.2
That Debussymay have deploredcontrapuntaldevicesperse does not preclude the incorporation
intomanyofhis worksofsubtleformsofmelodicor
motiviccombinations,counterlines,and countertextures
that involve the
of
lines
in
what
be
described
as
a
kind
of
idiomatic
play
may
unobtrusive,
The
of
dansUeau, fromImages I, 1905,illuscounterpoint.
opening Reflets
tratesone such phase of the counterpoint
to whichI refer.(See Example 1
on thetop ofthenextpage.)
occursherein the formof two simultaneously
statedbut
Counterpoint
contrastedmotivicgestures,the one representedby the risingpatternof
three-notesonorities(triads and trichords)stated in the upper voice, the
otherformedby the descendingtenorfigure,
A-flat-F- E-flat.Bothof these
elementsare centralto the unfoldingof the piece, especiallythe former.
Voice-leadingis also impliedby the successionof treblesonoritiesin mea'See H.H. Stuckenschmidt,
MusicintheTwentieth
Centurv.
n. 5.
2ClaudeDebussy,Letters
a sonediteur
onMusic,
(Paris: Durand, 1927),p. 179,in Composers
translatedby Sam Morgenstern,
ed. (New York: PantheonBooks,1956),pp. 324-25.

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

49

Ex. 1. Debussy, Refletsdans L'eau, mm. 1-2.

Andantinomolto

rubato
Tempo

Wwf

""""^- -

""""

m. 3 *

17

^^

fi^S*^^*.

yjj.

a formof modifiedplanning.Despite the absence

sure 1, whichconstitutes
of explicitstep connectionsin the note-to-note
movementof the sonorities,
an implicityet clearlyaudible step patternemergesin the formof a de) by virtueof the high or low
scendingline, D-flat-C- B-flat( fr^,^
in whichthe notesoccur.
three
notes
in
sonorities
of
each
of
the
the
position
The integrity
ofthe falling-steps
by itssubsequentemfigureis underscored
passage,measures66 to 69, and at thesubsequent
phasisin theau Mouvement
is
returnto D-flatin measure70. Note the top voice.The openingofReflets
indicativeof a processby which severalmotivicelementsare juxtaposed
and combinedcontrapuntally
in an economicaland skillfullyarticulated
statement.
expository
lie at the heart of DeRhythmand mode of articulationfrequently
more
so
than
processeswherebycontrapuntallinesas
bussy'scounterpoint,
A
of thiscan be noted
in
such are engaged competition. simpleillustration
in thetoccatafromPourle Piano.
Ex. 2(a). Debussy,Pourle Piano,Toccata (mm. 179-182).

The voice-leadingin measures179 to 180 of the toccatasuggestsWagand tonal ambiguity.This facetof Debussy'scounternerianpart-writing
point,as shownin the reductionin Ex. 2 (b), is predicatedon the semitone
observedas well in the organ
contrarymotionof the outerpartsfrequently
worksofCsar Franck.
Much more indicative,however,is the texturaldelineationof upper
and lowerpartsthroughthecontrastor combinationof legatoand staccato.

50

COLLEGE MUSIC SYMPOSIUM

Ex. 2(b). Ibid(two-voicereductionof mm. 179-180).

Lei 'h >

The resultingregistraiand texturalcontrastsrepresentaspectsof keyboard
exploitationthatDebussyoftenpursuedand whichcontributegreatlyto the
thatis sometimesfoundin the worksthatformthe core
partdifferentiation
of this study,the Preludes.It is in a numberof the Preludesfromboth
volumesthat Debussy's contrapuntalor contratextural
facilityis perhaps
mostevident.
The Preludes

Like manycomposers,Debussytriedon new ideas throughthe medium

It is easy
on whichhe was a virtuosoperformer.
ofthe piano, an instrument
the
from
master
other
and
of
hear
echoes
to
keyboardcomposers
Chopin
an
with
can
pictureDebussy
Debussy'spiano works.One
past throughout
whichundoubtlike the following,
ear cockedsharplytowardsprogressions
music.
his
in
occur
which
and
his
stirred
frequently
imagination
edly
Ex. 3. Chopin,Mazurka op. 17,No. 4.

*T r r

^ PT^

The artfullyfashionedpart-writing
of Chopin, the crux of whichlies in a
capacity to create step and commontone connectionsin innerand bass
parts,can be observedthroughoutDebussy'sworks,as well. It is nowhere
deDelphes,
morenoticeablethanin passagessuchas the openingofDanseuses
the firstPreludefromVolume I (see Ex. 4(a) on the top of the nextpage).
Even such essentiallychordal-styled
passages as this reveal a modicumof
contrapuntal interestin termsof inner-partintegrityand outer-voice
Like Chopin,Debussyoftencementsstep triadicor sevcounter-directions.

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

51

Ex. 4(a). Debussy,Danseuses

deDelphes,Preludes,Vol. I, mm. 1-4.

enth-chordmovementwith an inner-voicepedal. This can be observedin

measures3 to 4 ofEx. 4(a).
The detailsof Debussy'sfastidiousand impeccablevoice-leadingrepresent a studyin themselves.For purposesof this paper theyare acknowledged and assumed.Such preoccupationand skillundoubtedlyforma basis
forDebussy's ease of contrapuntalfacilitywith which this paper is concernedand to whichI would liketo turn.The remainderof thisstudydeals
in the main withcontrapuntalaspectsof PreludesNos. 2, 4, 6, 10, and 11
fromVolume I and Nos. 5, 6 and 7 fromthe secondvolume.
Voileshas attractedconsiderablepriorcommentby virtueof its wholetone pitchcontentand the inescapablepitch-setimplicationsforsuch content.Amongothers,Perle3has dealt withthe setimplicationsof Voiles.The
piece also incorporatesa numberof contrapuntalproceduresthat appear
in any numberofDebussy'skeyboard,vocal,and instrumental
subsequently
first
of theseamountsto the combiningof two relatedbut texworks.The
turallydistinctmotives.This occursthroughmeasures10 to 18, interrupted
by momentsofsustainedor movingupperpartsovera reiteratedB-flatbass
pedal. The combinedmotivesare introducedtogetherin measure 10, but
are alwaysstatedin rhythmically
thereafter
staggeredentrances.Withinthe
harmonicfieldof the 0, 2, 4, 6, 8, 10 set of the piece the motivesmove free
The main differentiating
constraints.
of any apparentconsonant-dissonant
theirregistral-timbasislies in theirindependentrhythms
and, importantly,
forthe piece,
basis
the
The
contrast.
bral (textural)
uppermotive, germinal
projectsparallel major thirdswhile the lowervoice movesin eitheroctaves
(measures10 to 13) or planed augmentedtriads(measures15 to 19). Althoughharmonicinterestincreasesas the passageis extended,the introducin measure10 ofEx. 4(b) is predicatedon an
tionof two-partcounterpoint
linearassociation.
essentially
and A tonality,
^George Perle, Serial Composition
p. 37.

COLLEGE MUSIC SYMPOSIUM

52

Ex. 4(b). Debussy,Voiles,Preludes,Vol. I, mm. 10-27.

tresdoux

^__

I l^?^bS^^^^^^^^^^^3^l!^h_^h^^^^^^^_^^^h^^I^bu
^^^H^^^^m^^^hZZhZmZ^EZZIhIZZ^^Z^ZZZZZm
^^^^^^^^m^^^^^hnSm^hI^^I^^^^^hb^m^^^^Zi
!^^^^^t^B^^^L^^^^^^'"J^^^^^^^">-"*"'^-^^^

l|-flW~

"~"

III

W*WT

tressonle I I

I Trr^

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

53

melodicostinatiare a majortexturalresourceofDeAccompanimental
bussy;as suchtheyprovidea simpleyeteffective
typeofcounterlineagainst
the morevariedand interesting
activityof othervoices.A tenorostinatois
introducedin measure22 of Voilesand restatedforfivemeasures.The ostinato (and supportingB-flatpedal) providesa complementary
counterpoint
againstwhicha variantof the openingmotivicmaterialis developed.The
contrastof rhythmicactivityand relativetonal stabilityprovidedby the
ostinatorepresents
a satisfactory
solutionto the problemof extensionposed
herein.It is a solutionthatDebussyemployedcountlesstimesand it is one
that is essentiallycontrapuntal.It is also a solutionthat Stravinsky
found
highlyacceptableas well.
Prelude No. 4 offersfar more explicitharmonicvarietyand interest
dans Vairdu
than does Voiles.Like Voiles,No. 4 (Les sonset les parfumstournent

soir)incorporatesmotivicrecurrencesupportedby a melodicostinatoin a
simpletwo-partcounterpoint.

#feJJ171;
"TQJ^
The ostinatois preparedin the lowervoice at measure15 fortwo measures, then retained in the upper voice against a chordal main voice
soundedbelow,beginningin measure18. The main tonal connectionrelating the ostinatoand main part is theircommon root pitch of C-sharp.
seventhchord(on Cis thatofa major-minor
Again themain tonalreferent
no
value in a
has
functional
the
As
be
sharp). might anticipated, sonority
is
strands
of
of
the
two
The
differentiation
activity textural,the one
key.
sonorities
in
treated
the
other
of
planed three-note
consisting singlepitches
sevenths(incomplete),and inconsistingof diminishedtriads,major-minor
chords.
seventh
diminished
complete
PreludeNo. 6 (Des pas surla neige)is a charmingand expressivepiece
whichin its own understatedway providesan excellentglimpseof DebusThe piece is an unclutteredand economicallyunfolded
sian counterpoint.
eventsheld togetherin part by a three-note
successionof linear-harmonic
the
that
piece alone (see Ex. 5). Measures 2 to 4 inpedal-ostinato
begins
volve two-partcounterpointover the same tonic (D) pedal. The counterof the one-measureostinatosupportpointis composedof threestatements
is
the
melody
unfoldingabove it. Dissonancetreatment
ing
lovely,plaintive
on
of
form
tertian
linear
and
not
complexity.
essentially
predicated any
Rudimentarythree-voicecounterpointformsthe frameworkfor the
texturebegun at measure5. Step contrarymotionis the basis for
five-part
the outervoice movementto a climacticninthchord in measure7, while

54

COLLEGE MUSIC SYMPOSIUM

Ex. 5. Debussy,Des pas surla neige,Preludes,Vol. I, mm. 1-18.

Tristeet lent(J= 44)

/^

Ce rytbme
doitavoirla valeursonore
d'unfondde paysagetristeetgiace

j^T

,A

____^_^

^ez-"

ij^r^l

^
3

et douloureux
p expressif

PJ

expressif

.i

^^

~~*\

i i 4 ^etenu

jjji jjjjj I mj ^j
"i

J5tJU

tj[fj

'

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

55

is a productof theostinato's
innervoiceindependence
placementin the
forsteppart-movement
is apparentagain in
tenor.Debussy'spredilection
8 to 11.At thispointtheostinatois givenfurther
measures
prominence
by
in
with
an
bass
the
voice
Two
accompanying counter-figure.
top
appearing
ostinati
begunat measure16.
enveloptheD pedal forthethreemeasures
2 to 4 oftheopening;thetexture
The mainvoiceis derivedfrommeasures
discretepartswhosemeaning(thepedal exof fourrhythmically
consists
interest
melodic,harmonic
cepted)is essentially
beingminimal.Againthe
exmoresuggests
thandefines
ofparts,intervallic
and rhythmic,
movement
and
and competing
fashioned
parts.But therhythmic
contrapuntal
plicitly
of
a
linear
that
is
indicative
herein
of
contoural
impulse far
separation parts
or
interest.
harmonic
overshadows
meaning
a briefphraseappearsthatprovidesstill
One measureaftera Tempo,
ofthepiecethatcontextures
ofthesimpleand unadorned
another
glimpse
or subtle
linear
of
combined
an
reveal
motives,
figures,
interplay
sistently
in rhythm
orarticulation.
contrasted
ofvoices,typically
counter-movements
and migratvarying
Againthepieceis extendedby a processoftexturally
That imitative
processes
playno rolein
inga fewsupplelinearelements.
ofthe
fromthefactthattheextension
in no waydetracts
thepiece'sgrowth
as
harmonic
the
based
on
is
much
as
composer'scontrapuntal
piece
inventiveness.
oneofthemostfrequently
PreludeNo. 10 {La Cathedrale
perengloutie),
from
effects
obtainable
of
on
the
is
formed, predicated
layers keylargely
These
ofharmonic
combinations.
ofa richvariety
boardsonority
consisting
to
span the gamutfromthe dyadsof the openingmeasures the quartaltertian
sonorat measure14and includetheextended
quintalcombinations
in fourths
and secondsare
itiesof measures16 to 21. Chordsconstructed
theendsofbothofthepiece'smainsections,
meaprominent
approaching
^=
f
f
is charsures40 to46 and 84 to 86. The piece'sopeninggesture,^ *rr
fifth.
The
melodic
second
and
a
acterized
rising
succeeding
by risingmajor
of thepieceis based to a greatextenton varioustransformations
growth
ofthatbasicthematic
andrestatements
gesture.
shownin Ex. 6, are combinedin
relatedfigures,
Two intervallically
Ex. 6. Debussy,La dansedePuck,Preludes,Vol. I, mm.87-90.
Dans le mouv* - //Retenu

^" '' f- r
[gxgressif1

'

r r 'rI

^^^

'?
I

56

COLLEGE MUSIC SYMPOSIUM

elaboratingthe II-V7 approachto tonic(E-flat)beginningten

counterpoint
measuresfromtheend of PreludeNo. 11. The effectis one ofadded interest
at a pointin the piece (the coda) at whichthe tentativepace ofthe passage
additionto texturaldensity,the piece as a
(Retenu)impliesa compensatory
whole being extremelysparse and thin texturally.Again the composer's
unerringjudgmentand economyare evidentin the suggestionof counterpointintroducedas opposedto an obviouscontrapuntaldevelopmentor extension.4Previous passages in the same movementreveal several such
a satisfying
touches,each representing
contrapuntalsolutionto the problemsofformand textureposed by particularareas ofthe piece.
The fifthPrelude fromBook Two is characterizedby a refreshingly
outgoingand lyricalmelodicidiom,as signaledby the openingfive measures(see Ex. 7). The elusive charm of the melody,like many Debussian
melodicstatements,
is in part relatableto the tonal ambiguityof the line
insofaras it gravitatestowardsthe dominant,evading tonic emphasisalmostentirely.
in one voice
Althoughmelodicinterestis concentratedpredominantly
and feeling
the piece as a whole,the piece'scontinuity
at a timethroughout
of movementare integralproductsof voice-leadingproceduresthat reveal
themaster'scapacityforcontrapuntalnuance and detail.
The simpleexpedientof contrarymotionshapesthe outervoices'contoursin measures6 and 7; the shiftof dominantrhythmic
activityfromone
the completo anotherregistercreatesan illusionof imitationthroughout
tionof the firstsectionofthe piece in measures8 to 16. Subtlecontrapuntal
nuances that add measurablyto the piece's interestand color can be observed,forexample,in the G to F (octave) appoggiaturaof measure11 and
of the same gesturein measure12. The coloraturatheextendedreiteration
like sequence of the top voice at measures19 to 20 is givencontrapuntal
motion
supportby thesimplebut expressivebass thatmovesin counter-step
to the step progression
F- E-flat-D-flat-C- B-flatof the top. A derivative
motionappearsin the lowestmovingvoice in measures21 and 22 as a consequence of the quickened harmonicrhythmof the chordsoccurringin
planingabove it. Such detailsare in all likelihoodmorefeltthanheard.
The close of the Preludeis fashionedout of a simpleV to I movement
in A-flat,the fragmented
melodicmaterialcomingfromthe piece'sopening.
The approachto V fromIV (measures6 to 8 fromthe end) is enhancedby
ascendingsemitonemovementfromE to G statedin paralleloctaves.This
motionto the leading tone formsa simplecounterpointwith the motivic
of the main voice. Once havingarrivedat the leading tone Defragments
bussydescendsby step to E-flat(the dominant)beforethe arrivalon tonic,
connectionoftheleadingtonewithtonic.
predictablyevadingany direct
4Leadingtoneto tonicmotionby risinghalfstepis rarelyused,forexample.

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

57

Ex. 7. Debussy,PreludeNo. 5, Vol. II, mm. 1-17.

Calme-DouccmentexprcssifJ = 66

\ i -,ittT^TPTTJ
/iMfcff

'T^i

ill

J-r-t^
\|

f$\

l^fctgt

*\JJJ i 4

r-s^=t

aL^ >

^-f^-

-T^p

58

COLLEGE MUSIC SYMPOSIUM

PreludeNo. 7 is a marvelousstudyin pianisticsonorityand texture.It

reflectsDebussy'sessentialadherenceto traditionalsounds,i.e. triads,major-minorseventhchords,and a varietyof completeand incompleteninths
relations,especiallysecondand thirdrelations.
juxtaposedin non-functional
The piece's harmonicorganizationcan be viewedas an elaboratedmovementfromV to I in F-sharpmajor.
The impact of the workis fundamentally
harmonic,and like mostof
etc. constitutethe
color,registraicontrasts,
sonority,
Debussy'scompositions
se
attraction.
and
of
focus
Melody per appears to play the role
points major
chord successionthan of leading or
from
and
more of connecting
arising
harmonicchoiceand direction.Rudolph Reti alludes to the memotivating
lodic-harmonic
"However,to underaspectsof Debussy'smusicin stating5,
standDebussy'sfullachievementin thissphere,one mustnotforgetthathis
compositionsare not merelysuccessionsof homophonicmelodies,as were
(at leastas faras our knowledgegoes) thoseold folktunes,but thathis basic
melodicshapes sound withina complicatedweb of passages,contrapuntal
garlandsand harmoniesofvarioustypes.. . ."
One can take thisline of thinkingone further
step and concludethat
in compositionssuch as this Prelude thereare passages in which melody
and harmonyare virtuallyone, and the distinctionbetweenthemis moot.
Measures28 to 31 are a good illustrationof such pan-melodicor pan-harmonic passages; all voices are of co-equal melodic-harmonic
significance
betweenmelodyand harmonyas
and thereis no value in differentiating
such in traditionaltermsof main voice and accompanimentor line and
counterline.Linearityis a resultof voice-leadingand chordsare as much a
as theyare vertical
productof multipleintervallicmelodic reinforcement
sonoritiesin theirown right.Extendingthe same intervallicverticaldistance betweenvoices minimizesharmonicinterestas much as the melodic
duplicationofpartsminimizestheircontrapuntalindependence.
Related but not identicalto such passagesare thosesuch as the phrase
relationsof
begun in measure 13. The passage projectshomorhythmic
beoccursin the counter-movement
voices,but an elementof counterpoint
tweentop and "tenor":
Ex. 8(a). Debussy,PreludeNo. 7, Vol. II, m. 13.

Music(New York: CollierBooks,1962),p. 40.

inModern
5RudolphReti, Tonality

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

59

A moredistinctcontrapuntalrelationofpartsis introducedat measure

16 in theformofprincipaland subordinatemotives:
Ex. 8(b). Debussy,PreludeNo. 7, Vol. II, mm. 16-19.

The contrarymotionof the passagetypifies

Debussy'scarefulcontrolof lina morepointedlyconear pattern.The absenceof harmonicchangereflects
is envelopedby C-sharppedals in the
trapuntalemphasis.The counterpoint
top,bass,and middleregisters.
A finalillustration
fromthe same Preludecombinesthe harmonicparsimiallelismof measure29 withan elementof contrapuntaldifferentiation
lar to thatnotedpreviouslyin measure16. Measures21 to 24 involvethree
levelsof activity,a bass level of pedals, a middle level of planed trichords
(actually incompletemajor-minorsevenths),and a top stratumof dyads
withouterpartdoublings.
Ex. 9. Debussy,PreludeNo. 7, Vol. II, mm.22-24.
Ce'dez //

Uy

y, jn I >i ''m

> A

COLLEGE MUSIC SYMPOSIUM

60

imposed
Again it is easy to observea numberof compositionalconstraints
by the composerwhichcontributemarkedlyto the balance and coherence
of the writing;the stabilityof a pedal, the dominanceof step-motionin
moving parts, step and contrarystep-motionpredominating,and the
ofeach of thethreestrata.
individuality
rhythmic
Passagessuch as the one to follow,whichinvolvea skillfulintegration
of both linearand harmonicmaterials,knowledgeably
deployedforthe orchestra,are as indicativeas any of the composer'scraftand economicaluse
of materials.The impact of such passageson Debussy'simmediatesuccessuch as The
and Bartok,as observedin compositions
sors,such as Stravinsky
or FirstStringQuartet,seems
Rite ofSpring,Bartok's Two Portraits
for Orchestra

apparent.Many ofBartok'slaterworkssuch as the SonataforTwoPianosand

Percussion
continueto reflectin more complexways patternsand textures
similarto thosefoundin the Preludes.It is perhapsmorein the inventionof
manipulativeprocessesthan in the raw materialsthemselvesthatDebussy's
impactwas mostfelt.There is no questionbut thatan ear forcontrapuntal
detail as well as sonorityhelped channel the geniusformusical invention
thatinevitablysignalshis music.
A numberof linearor contrapuntalaspectsofDebussy'sPreludeshave
been cited in the precedingdiscussion.These facetsof Debussy'sstyleconstitutedetails,forthe mostpart,of a techniqueand craftdevelopedwithin
While
the generalcast of homophonyand harmonically
conceivedtextures.
the composermay have shunnedcontrapuntaldeviceshe clearlydisplayed
and
awarenessofcontrapuntalprinciplesof voice-leading,
counter-rhythms,
to
waris
itself
sufficient
inventiveness
of
His
spacing.
spatialarrangements
rantrecognition
offirstrank.PerhapsDebussy'scraftis most
as a craftsman
admired as employedin his orchestralworks.Althoughthe focusof this
studyhas been piano music it is worthnotingthat,like mostcomposers,
Debussy followedthroughin his orchestralmusic on the promisesof his
of approach and process
keyboardworksso that a remarkableconsistency
can be observedbetweenthe twogenres.This can be confirmed
by a glance
at the openingpages ofLa Mer,1905,measures6 to 22 of whichare quoted
below(see Ex. 10,pp. 62-3).
Three linear elementscomprisethe basis forthe expositorypassage;
theyconsistofthefollowing:
(a)

(b)

Cor A

____^^

(c)

DEBUSSY, CONTRAPUNTISTE MALGRE LUI

61

Typically,one of the elements,in thiscase the one labeled (c), is treatedas

The othertwo elementsare juxtaan ostinatoin variousshifting
registers.
the
ostinato.
The textureis thinand the linin
against
posed counterpoint
The rhythmic
and timbraiseparation
ear componentsare quite transparent.
of partsas observedin the composer'sscoringof each motive,motive(a)
scoredforoboe and/orclarinet,motive(b) scoredforthe combinationof
mutedtrumpetand Englishhorn,and theostinatofiguretreatedby shifting
to the delineationof the threeelepairs of strings,contributeseffectively
three-note
chordsin the bassoonsprovide
ments.The timpaniand periodic
a softcushionfortheevolvinglineargesturesabove.
of these
Subsequentpassagesin La Merrevealnumerousreoccurrences
and similarprocesses.This is especiallytrue in the thirdmovement,Dialoguedu ventet de la mer.

is very
That Debussy will ever be acknowledgedas a contrapuntist
of what
much in doubt; our biases towardsclosed traditionaldescriptions
will see to that.However,giventhe clichesand acconstitutes
counterpoint
of counterpoint,homophony,and other
definitions
cepting traditional
terms,theremaybe enoughlatitudefora moreexpandedviewofthe range
of styleand masteryof craftthat are clearlyapparentin the worksof Debussy,thereluctantcontrapuntist.

COLLEGE MUSIC SYMPOSIUM

62

Ex. 10. Debussy,La Mer,mm.6-22.

'

PP

Trompfei

_ +
Timby I o

^C - .

"

1
.

.^

lo

==

\y= * pp

!nI

le

Sourdine^,^ -

1"

-^^

L iJ J Jc~j
*

"

lo

=-wr

""""^^^

^^^^^^^^
-

l"ll\

=^==^==^^^^^

soutenu
expressifet

\sr
)

t_ y

^-

_expressif
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