Debussy did away with the harmonic limitations of the
preceding period and yet retained the spirit of tonality. He was
able to do this by no longer relying on the diatonic scale with its
customary classical progressions emphasizing cadence points. A
discussion of the scales and modes that replaced the old major and
minor scales is necessary, because together, these are basically
responsible for the structural organization behind both melody and
harmony. Through the use of specific scales and modes, and a desire to
change the function of chords, Debussy was able to establish a new
concept of tonality. Analyses of examples of scales, modes and chords
taken from the Preludes in Book I, will help to form a basis for
understanding the tonality of Debussy.
Debussy did away with the harmonic limitations of thepreceding period and yet retained the spirit of tonality. He wasable to do this by no longer relying on the diatonic scale with itscustomary classical progressions emphasizing cadence points. Adiscussion of the scales and modes that replaced the old major andminor scales is necessary, because together, these are basicallyresponsible for the structural organization behind both melody andharmony. Through the use of specific scales and modes, and a desire tochange the function of chords, Debussy was able to establish a newconcept of tonality. Analyses of examples of scales, modes and chordstaken from the Preludes in Book I, will help to form a basis forunderstanding the tonality of Debussy.
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