Gaspard Study of Tonality

A STUDY OF TONALITY IN RAVEL'S "GASPARD DE LA NUIT"

A Thesis Presented in Partial Fulfillment of the Requirements

for the Degree Ma.ster of Arts

by

Charles Craymer Vedder, B. Se. in Ed. "

The Ohio State University

1951

Approved by:

ACKNOWLEDGMENTS

I am sincerely grateful to Dr. Norman F.

Phelps, Professor of Music, The Ohio State Uni

versity, for the very valuable assistance and

guidance which made possible the completion of

this thesis.

i

CHAPTER

I

II

III

IV

V

VI

TABLE OF CONTENTS

INTRODUCTION • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Statement of the Problem ••••••••••••••.••• The Choice of Music • • • • • • • • • • • • • • • • • • • • • • • Analytic Procedure •••••••••••.••••..••••.• Organization of Remainder of the Thesis •••

TERMINOLOGY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Terminology for Vertical Structures •••••••

Triads • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Seventh Chords

Ninth Chords • • • • • • • • • • • • • • • • • • • • • • • • • • • Eleventh and Thirteenth Chords ••••••••• Additional Vertical Structures •••••••••

Terminology for Form •••••••••••••••••••••• Tables • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Figures ••••••••••••••••••••.•••••••••••

Terminology for Tonal Analysis •••••••••••• Basic Root ••••••••••••••••••••••••••••• Relief Chords • • • • • • • • • • • • • • • • • • • • • • • • • •

VERTICAL STRUCTURES • • • • • • • • • • • • • • • • • • • • • • • • • •

THE FORM •••••••••••••••• 0 ••••••••••••••••••••

Form of Form of Form of

. . . . . . . . . . . . . . . . . . . . . . . . . . . . Ondine Le Gibet Scarbo

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

TONAL ANALYSIS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Ondine

Le Gibet Scarbo

• ••••••••••••••••••••••••••••••••• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

S1..U11lnary •••••••••••••••••••••••••••••••••••

CONCLUSIONS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

1 1 2 2 2

4 4 4 6 8

10 1.4 16 16 16 17 17 18

19

28 28 33 36

44 44 53 60 82

84

BIBLIOGRAPh"Y ••••••••••••••••••••••••••••••••• 89

i1

LIST OF TABLES ---TABLE PAGE

I VERTICAL STRUCTURES IN ONDlNE ••••••••••••••••• 20

II VERTICAL STRUCTURES IN LE GIBET ••••••••••••••• 21

III VERTICAL STRUCTURES IN SCARBO ••••••••••••••••• 22

IV SUMMARY OF VERTICAL STRUCTURES IN "GASPARD DE LA NUIT" •••••••••••••••••••••••••••••••••••••• 24

V PERCENTILE OF DATA IN TABLE IV •••.•••.•••••••• 26

VI PERCENTILES BY VERTICAL STRUCTURE ••••••••••••• 27

VII THE FORM OF ONDlNE •••••••••••••••••••••••••••• 30

VIII THE FORM OF LE GlBET •••••••••••••••••••••••••• 34

IX THE FORM OF SCARBO •••••••••••••••••••••••••••• 37

iii

FIGURE

1

2

3

4

5

6

7

8

9

10

11

LIST OF FIGURES

FIGURATION FOR TRIADS •••••••••••••••••••••••

FIGURATION FOR SEVENTH CHORDS •••••••••••••••

FIGURATION FOR NINTIi CHORDS • • • • • • • • • • • • • • • • •

FIGURATION FOR ELEVENTH AND THIRTEENTH CHORDS

FIGURATION FOR ADDITIONAL VERTICAL STRUCTURES

FORM OF ONDlNE ••••••••••••••••••••••••••••••

FORM OF LE GIBET ••••••••••••••••••••••••••••

FORM OF SCARBO • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

TONAL ANALYSIS OF ONDlNE ••••••••••••••••••••

TonAL ANALYSIS OF LE GIBET ••••••••••••••••••

TONAL ANALYSIS OF SCARBO ••••••••••••••••••••

iv

5

7

9

13

15

32

35

40

51

59

80

CHAPTER I

INTRODUCTION

The significance of the work of Maurice Ravel and his

p.Lace in the musical firmament are no longer controversial,

yet aside from a few biographies and numerous articles in

periodicals and newspapers no attempt has been made to pre

sent a total picture of the kind of musica~ material he used

and his employment of this material.

Among the theorists, A. Eaglefield Hull, Ren6 Lenormand,

Horace Alden Miller, and others have quoted passages from the

works of Ravel to demonstrate various devices and F. H. Shera,

in his Debussy and Ravel, has given a brief analysis of a few

Ravel works. In view of the notab~e contributions that Rave~

has made to tile literature of music, particularly to the lit

erature for the piano, it is felt that a closer examination

of Lis works is both justified and desirable.

Statement of the problem. The problem for this thesis

was to determine what tonal system, if any, was emp~oyed by

Ravel in Gaspard de la Nuit. In order to determine this, it

was necessary to do an harmonic analysis and a formal analysis

of the music. A~so, it was found practicable to work out a

figuration that wouid show the exact structure of all chords,

including eleventh and thirteenth chords.

I

2

The choice of music. The piano suite, Gaspard de la

_N_u_i_t J consists of three pieces entitled On dine J Le .;;;;G..::i...;;.b...;;.e..;;;.t, and

Scarbo. In choosing this group of pieces for study, the in

vestigator was guided, in part, by the opinion of critics.

Alfred Cortot paid them tribute in saying, "These three poems

enrich the piano repertoire of our epoch with one of the most

extraordinary examples of instrumental ingenuity whicll the

industry of composers has ever produced."l Ravel's biographer,

Roland-Manuel, not only considered Gaspard de la Nuit as the

greatest of his piano works but declared that "In it, all his

qualities as a musician, and all the strength of his genius

are crystallizedo"2

Analytic procedure. The works studied were first ana

lyzed for their thematic content to determine the structural

divisions or form. Then the vertical structures or chords

were analyzed. Finally, tile relationship of the form and the

vertical structures was studied to determine what tonal system

was used.

Organization of remainder of the thesis. The next chap

ter is a presentation of terminology. It includes chord clas

sification, chord figuration, and the terms used in the tables

and diagrams of the form. There is also an explanation of the

new terms, nbasic r·oot tl and "relief chord, It which are used

IMadeleine Goss, Bolero, The Life of Maurice Ravel, p. 138. ----2Roland-Manuel, Maurice Ravel, p. 54.

3

in the tonal analysis.

The succeeding chapter, TIm VERTICAL STRUCTURES, contains

tables of the vertical structures showing the frequency of

their occurrence.

The form of each piece is shown by a table and a diagram

in Chapter IV.

In the following chapter, TONAL ANALYSIS, the tonal or

ganization of each piece is discussed and illustrated in de

tail.

The final chapter summarizes the findings of the thesis

and discusses their significance.

CHAPTER II

TERMINOLOGY

I. TERMINOLOGY FOR VERTICAL STRUCTURES

Triads. Triads are classified in the usual manner as

major, minor, diminished, and augmented. All chord roots

are shown by capital and lower case letters instead of the

customary Roman numerals. Capital letters are used to indi

cate the roots of major triads. Lower case letters indicate

minor triads while lower case letters with a small circle

indicate diminished triads. An augmented triad is shown by

a capital letter followed by a plus sign. A capital letter

followed by the sign -5 designates a triad with a major third

and a diminished fifth.

When a tone that agrees with the major scale of the root

of the triad is added to t he triad, it is shown by an Arabic

numeral in parenthesis following the letter for the triad.

If the added tone does not agree with the major scale of the

root of the triad, a plus sign placed before the numeral in

dicates that the added tone has been raised one half step;

a minus sign placed before the Arabic numeral indicates that

the added tone has been lowered one half step.

The figuration for triads is illustrated in FIGURE 1.

4

o = Major triad on 0

c = Minor triad on 0

CO • Diminished triad on 0

Of = Augmented triad on 0

o -5 = A triad consisting of a major third

and a diminished fifth

0(6)

0(f4)

0(-9)

:: A major triad with an added sixth

= A major triad wi th an added augmented

fourth

= A major triad with an added minor

ninth

FIGURE 1

FIGURATION FOR TRIaDS

5

6

Seventh chords. Seventh chords, other than diminished

sevenths, are classified according to four species, the fourth

species having four subdivisions. The figurations for the

various seventh chords as listed below are illustrated in

FIGURE 2.

1. First species seventh chord consisting of a major

triad and a minor seventh.

2. Second species seventh chord consisting of a minor

triad and a minor seventh.

3. Third species seventh chord consisting of a dimin

ished triad and a minor seventh.

4. Fourth species seventh chord consisting of a major

triad and a major seventh.

5. Fourth species seventh chord consisting of a minor

triad and a major seventh.

6. Fourth species seventh chord consisting of a dimin

ished triad and a major seventh.

7. Fourth species seventh chord consisting of an aug

mented triad and a major seventh.

8. Diminished seventh chord consisting of a diminished

triad and a diminished seventh.

1$

1$

1. 2. 3.

~L I tt II ~[ II

C7 (81) C7(S2) C7(83)

5.

.,1 C7 (S4m)

6. 7.

II Pfl II Ii II -e-

C7(840) crj (S4f)

FIGURE 2

FIGURATION FOR SEVENTH CHORDS

7

4.

t II

C7 (84)

8 • . ...A. ____

P~I -9-

If . 0

c07

8

Ninth chords. Ninth chords are classified according to

four species, each species having subdivisions. The figura-

tiona for the various ninth chords described in the following

list are illustrated in FIGURE 3.

1. First species ninth chord consisting of a major

triad, a minor seventh, and a major ninth.

2. First species ninth chord consisting of a major

triad, a minor seventh, and a minor ninth.

3. Second species ninth chord consisting of a minor

triad, a minor seventh, and a major ninth.

4. Second species ninth chord consisting of a minor

triad, a minor seventh, and a minor ninth.

5. Third species ninth chord consisting of a dimin

ished triad, a miner seventh, and a major ninth.

6. Third species ninth chord consisting of a dimin-

ished triad, a minor seventh, and a minor nin th.

7. Fourth species ninth chord consisting of a major

triad, a major seventh, and a major ninth.

8. Fourth species ninth chord consisting of a minor

triad, a major seventh, and a major ninth.

9. Fourth species ninth chord consisting of a dimin-

ished triad, a major seventh, and a major ninth.

10. }i'ourth species ninth chord consisting of an aug

mented triad, a ma jor seventh, and a maj or ninth.

11. Fourth species ninth chord consisting of a major

triad, a major seventh, and a minor ninth.

9

1. 2. 3. 4. 5.

C9 (83)

6. 7. 8. 9. 10.

1* ttl II I ~ i II i II it[ II ~

C-9 {S3) C9 {S4) C9 {S4m) C9(S4 0 ) C9(34f)

1I. 12. 13. 14.

I; I II ~l II 3 II . q ; C-9(84) C-9(54m) 0-9 (54 0 ) C- 9(S4f)

FIGURE 3

FIGURATIOn FOR NINTH CHORDS

12. Fourth species ninth chord consisting of minor

triad, a major seventh, and a minor ninth.

13. Fourth species ninth chord consistlng of a dimin

ished triad, a major seventh, and a minor ninth.

14. Fourth species ninth chord consisting of an aug

mented triad, a major seventh, and a minor ninth.

Eleventh and thirteenth chords. The writer of this

10

thesis is aware of the differences of opinion which exist among

theorists regarding the existence of eleventh and thirteenth

chords. That little is known of these chords in our American

system of teaching is pointed out by Horace Aiden Miller.

"The English and the l"rench are the ones who make use of

analyticai processes that recognize these chords, the former

sometimes to an exaggerated degree." l

In the present analysis, all dissonances, except pedal

points, that are ieft unresoived until the sounding of the

next chord are considered chord members or tones added to the

chord. "W'hen our musical perception becomes so habi tua ted

to a certain resolution that we no longer require it, but

preferably desire the immediate moving forward to another chord,

thus eliminating the unnecessary step, then the first chord

becomes a definite entity, and a new harmony is born. u2

If the eleventh or thir·teenth above the root appears as

lHorace Alden Miller, New Harmonic Devices, p. 58.

2I!?..±.2. , :w. 59, 60.

RichardMaddux

Highlight

11

a harmonic tone with a seventh or ninth chord, the structure

is called an eleventh or thirteenth chord, but if the eleventh

or thirteenth appears with a triad without the seventh, the

structure is called a triad with an added fourth or an added

sixth. Likewise, when the interval of a second or a ninth

above the root appears with a triad Witilout the seventh, the

structure is called a triad with an added second or added

ninth.

In the figuration for eleventh and thirteenth chords,

the lower four or five tones of the chord are indicated as

a species of seventh or ninth chords, whichever the case may

be. Then the numbersll or 13 or both are placed in paren

thesis following this indication. Nhen the interval of the

eleventh is perfect and the thirteenth is major, the figures

11 and 13 are used. The plus sign is placed before the figure

when the tone is a half step higher and the minus sign is used

when the tone is a half step lower. FIGURE 4 shows the figura

tion for the eleventh and thirteenth chords that are listed

below.

1. An eleventh chord consisting of a first species

seventh chord and a perfect eleventh.


ninth chord and a perfect eleventh.


seventh chord and an augmented eleventh.

4. An eleventh chord conSisting of a first species

ninth chord and an augmented eleventh.

5. A thirteenth chord consisting of a first speciea

aeventh chord and a major thirteenth.

S. A thirteenth chord cODai.ting of a first epeciea

ninth chord and a major thirteenth.

12

? A thirteenth chord consisting of a fourth species

ninth chord, a perfect eleventh, and a major thirteenth.

S. A thirteenth chord consisting of a first species

seventh chord, an augmented eleventh, and a major thirteenth.

9. A thirteenth chord consiating of a third species

aeventh chord, a perfect eleventh, and a minor thirteenth •.

10. A thirteenth chord consisting of a fourth species

ninth chord and an augmented thirteenth.

13

1. 2. 3. 4. • I; pi

--e-II i II !i II ~ II

0'7(81)(11) 0 9 (81)(11) 0'7(81)(1'11) 09 (81)(1-11)

5. 6. 7. 8.

1$ -4- -4-

I ~ tt II pi II II II -e-

07

(81)(13) 0 9 (81)(13) 0 9 (84)(11,13) 07 (81) (,"11,13)

9. 10.

1$ ~i II Ji II

07 (83)(11,-13) 0 9 (84 0 ) (f13)

FIGURE 4

FIGURATION FOR ELEVENTH AND THIRTEENTH OHORD8

14

Additional vertical structures. The few remaining ehord

structures which have not been described and for which no fig

uration has been given are listed below and illustrated in

FIGURE 5.

1. A first species seventh chord whose fifth has been

raised a half step.

2. A first speoies ninth chord whose fifth has been raised

a half step.

3. A first species seventh chord whose fifth has been

lowered a half step.

4. A first species ninth chord whose fifth has been

lowered a half step.

5. A first species seventh chord which contains a minor

third in addition to its major third.

6. A first species minor ninth chord which contains a

minor third in addition to its major third.


seventh chord with major and minor third present and an aug

mented eleventh.

8. A thirteenth chord conSisting of a first species

seventh ohord with major and minor third, both a perfect and

a diminished fifth, and a thirteenth.

1.

1$

5.

I{~

2. 3.

191 II IPS II p~i II -B- -e- -e-

C7f5(Sl) 09f5(31) C7-5(31)

6.

ii II rr II

C7 (Sl) (1\13) C-9 (Sl)(M3 )

8.

I~

FIGURE 5

FIGURATION FOR ADDITIONAL

VERTICAL STRUCTURES

15

4.

ppl II -fT-

09-5(Sl)

7.

p Ji II

C 7 ( Sl ) (M3 ) (I'll)

II

16

II. TERMINOLOGY FOR FORM

Tables. In Chapter IV, THE FORM, four-column tables are

used. In the first column, labeled "Portion," the various di

visions or parts of the piece such as ttsubjectlt and "transi

tionU are indicated. ~he second column, "Source of and/or

treatment of material," denotes the phrase or section of the

piece from which the material is derived and/or the treatment

of the material used. The third column shows the number of

measures in each phrase, section, or motive. The location of

each division of the form is shown by measure numbers in the

fourth column.

Figures. In FIGURES 6, 7, and 8, the form of each piece

is diagrammed. Each dash represents a measure and the Arabic

nunJ-erals above the dashes are the measure n1lr.1bers of the -beginning of each phrase or section. The dashes are grouped

to show the division of the music into phrases, sections, and

motives. Each group of dashes is labeled with such terms as

t'Introduction, tf ttSub jec t," etc. All information in parenthe ses

indicates the source of the material and/or the treatment of

the material used or developed in that particular phrase or

section.

1'1

III. TERMINOLOGY FOR TONAL ANALYSIS

In the chapter where the tonal analysis of Gaspard de

1a .!il!.ll is discussed two new terms, "basic root" and "relief

chord," are used.

In the phrases and sections where the chord relation

ships did not indicate a key it was discovered that one chord

or various c.J:lords built on the same root were most used. This

I'oot seemed to be the center of hS.rmonic activity while chords

built on other roots provided harmonic variety. To describe

this harmonic technique these two new terms were adopted.

Basic root. The basic root is the most frequently oc

curring chord root or the root which occupies the major portion

of the time value in a phrase or section. Any type of chord

from a triad to a thirteenth chord may be constructed on the

basic root and any number of these chords may occur in a

phrase or section. These chords are built in thirds and the

lower tone of the lowest third in the chord is the basic root.

The basic root usually starts or ends a phrase or does both but

this is not always the case. Frequently, the basic root is

used as a pedal point for the entire phrase or for most of the

phrase. Transitions or phrases that are transitional in char

acter may have two or more basic roots.

The basic root analysis is not used in phrases or sections

where the establishment of key by conventional chord relation

ships is obvious.

18

Relief chords. All chords constructed on roots other than

the basic root are called relief chords. Their function is

to provide harmonic variety or to lead into the next phrase.

A relief chord which is the final chord in a phrase may be

prolonged to extend the phrase without its becoming a basic

root. The basic root and the roots of the relief chords may

have any interval relationship.

CHAPTER III

THE VERTICAL STRUCTURES

In this chapter tables are used to show the exact

number of each kind of vertical structure found in Gaspard

de la Nuit. There is a table for eacll piece and a table

which summarizes the vertical structures in the entire work.

The two additional tables are percentile evaluations of the

harmonic material. The first is a conversion of TABLE IV in

to percentages. The second is a percentage tabulation of the

individual harmonic classifications.

All chord structures have been analyzed as being built

in thirds and the lower tone of the lowest third in the chord

is the root.

19

20

TABLE I

VERTICAL STRUCTURES IN ONDINE

Structure Number of Occurrences

Major triad Major triad (6) Major triad (-6) Minor triad Minor triad (2) Minor triad (6) Minor triad (4,6)

Seventh chord (51) Seventh chord (53) Seventh chord (S3)(M3) Diminished seventh chord

Ninth chord (51) Ninth chord -9(51) Ninth chord (32) Ninth chord -9(S2) Ninth chord (S3)

Eleventh chord consisting of: Ninth chord (31)(11) Ninth chord -9(31){fll) Ninth chord (33)(11)

Thirteenth chord consisting of: Seventh chord (31)(13) Seventh chord (S4)(13) Ninth chord (Sl)(13) Ninth chord (Sl)(-13) Ninth chord -9{Sl}(13)

Polychordal structures consisting of: Diminished triad and major triad with roots one half step apart

DiminIshed triad and major triad with roots a whole step apart

Diminished seventh chord and major triad with roots a major third apart

Ninth chord -9(Sl) and major trIad with roots a minor third apart

Total

13 1 1 5 6 2 3

S 9 2 1

27 5 5 2 2

3 1 3

3 3 4 2 3

6

1

6

1

128

21

TABLE II

VERTICAL STRUCTURES IN LE GIBET

structure

Major triad Ma jar triad (9) Minor triad Minor triad (4) Minor triad (9) Diminished triad

Seventh chord (81) Seventh chord (Sl) (~) Seventh chord (S3)

Ninth chord (Sl) Ninth chord -9(81) Ninth chord (82) Ninth chord (S3)

Eleventh chord consisting of: Ninth chord (Sl)(~ll) Ninth chord -9(Sl)(11)

Thirteenth chord consisting of: Seventh chord (81)(13) Seventh chord (81)(-13) Ninth chord -9(81)(M3)(fll,13)

Total

Number of Occurrences

6 10

6 5

10 2

4 2 5

17 3 3 3

1 6

8 2 1

94

22

TABLE III

VERTICAL STRUCTURES IN SCARBO

Structure

Major triad Major triad -5 Major triad (2) Major triad (6) Major triad (~6) Major triad (9) Maj or triad (-9) Major triad (f4, -6) Major triad (6, 9) Major triad (6, -9) Minor triad Minor triad (f4, 6) Augmented triad (f4) Augmented triad (f6) Diminished trl ad

Seventh chord (81) Seventh chord -5(Sl) Seventh chord (Sl)(~:5) Seventh chord (82) Seventh chord (S3) Seventh chord (S4) Seventh chord (S4m) Diminished seventh chord

Ninth chord (Sl) Ninth chord -9(~1) Ninth chord -9-5(Sl) Ninth chord -9(Sl)(M3) Ninth chord -9-5(Sl)(M3) Ninth chord (S2) Ninth chord (S3)

Eleventh chord consisting of: Seventh chord (Sl)(fl1) Seventh chord (Sl)(M3)(fll) Seventh chord (S2)(fll) Seventh chord (53)(11) Seventh chord (S4)(fl1) Ninth chord (Sl)(11) Ninth chord (Sl)(r11)

Thirteenth chord consisting of: Seventh chord (Sl)(13)


52 8 1

46 6 1 1 1 1 1

27 11

1 9 1

31 1 :5 2

17 2 2 1

19 11

2 4 1 2 5

20 4 8 1 4 1 2

11

23

TABLE III (CONTINUED)

Structure

Thirteenth chord consisting of: (Cont.) Seventh chord (Sl)(M3)(13) Seventh chord (Sl)(~ll, 13) Seventh chord (Sl)(~3)(f5)(13) Ninth chord (~1)(13) Ninth chord - (Sl)(13) Ninth chord -9(Sl)(M3)(13) Ninth chord -~(Sl)(f11, 13) Ninth chord - (S4){13)

Total


5 3 2 2 7 1 4 1

346

TABLE IV

SUMMARY OF VERTICAL STRUCTURES IN GASPARD DE LA NUIT

24

Structure Number of Occurrences

Major triad Major triad -5 Major triad (2) Major triad (6) Major triad (f6) Major triad (-6) Major triad (9) Major triad (-9) Major triad (f4, -6) Major triad (6, 9) Major triad (6, -9) Minor triad Minor triad (2) Minor triad (4) Minor triad (6) Minor triad (9) Minor triad (4, 6) Minor triad Cf4, 6) Augmented triad (f4) Augmented triad (f6) Diminished triad

Seventh chord (Sl) Seventh chord -5(Sl) Seventh chord (Sl)(~3) Seventh chord (52) Seventh chord (83) Seventh chord (S3)(M3) Seventh chord (S4) Seventh chord (S4m) Diminished seventh chord

Ninth chord (Sl) Ninth chord -9(Sl) Ninth chord -9-5(Sl) Ninth chord -9(Sl)(M3) Ninth chord -g-5(Sl)(~3) Ninth chord (S2) Ninth chord -9(S2) Ninth chord (33)

Eleventh chord consisting of: Seventh chord (Sl)(fll)

71 8 1

47 6 1

11 1 1 1 1

38 6 5 2

10 3

11 1 9 3

43 1 5 2

31 2 2 2 2

63 19

2 4 1

10 2

10

20

25

TABLE IV (CONTINUED)

Struoture

Eleventh chord consisting of: (Cont.) Seventh chord (Sl){M3){f11) Seventh chord (S2){f11) Seventh chord (S3){11) Seventh chord (S4){f11) Ninth chord (Sl){ll) Ninth chord (SI)(f11) Ninth chord -9{Sl){11) Ninth chord -9(Sl){f11) Ninth chord (S3)(11)

Thirteenth chord consisting of: Seventh chord (Sl)(13) Seventh chord (Sl)(-13) Seventh chord (Sl)(~3)(13) Seventh chord (Sl)("ll, 13) Seventh chord (Sl )(~3)( P5) (13) Seventh chord (34)(13) Ninth chord (Sl){13) Ninth chord (Sl)(-13) Ninth chord -9(31)(13) Ninth chord -9(Sl)(M3)(13) Ninth chord -9(Sl)(,,11, 13) Ninth chord -9(Sl) (!!3) (f11, 13) Ninth chord -9(S4)(13)

Po1ychorda1 structures consisting of: Diminished triad and major triad with roots one half step apart

Diminished triad and major triad with roots a whole step apart

Diminished seventh chord and major triad with roots a major third apart

Ninth chord -9(Sl) and major triad with roots a minor third apart

Total


4 8 1 4 4 3 6 1 3

22 2 5 3 2 3 6 2

10 1 4 1 1

6

1

6

1

568

26

TABLE V

PERCENTILES OF DATA IN TABLE IV

structure Ntunber Percentage

Triads 237 41.7

Seventh chords 90 15.9

Ninth chords III 19.5

Eleventh chords 54 9.5

Thirteenth chords 62 10.9

Polychordel structures 14 2.5

Total 568 100.0

TABLE VI

PERCENTILES BY VERTICAL STRUCTURE

A. TRIADS

Structure

Triads without added tones Triads with added major sixth Triads with other added tones

Total

Number

120 49 68

237

B. SEVENTH CHORDS

Structure

First species seventh chords Third species seventh chords All other seventh chords

Total

Number

49 33

8

90

C. NINTH CHORDS

:::>tructure

First species ninth chords All other ninth chords

Total

Number

89 22

III

D. ELEVENTH AND THIRTEENTH CHORDS

Structure

Augmented eleventh chords All other eleventh chords Thirteenth chords

Total

Number

40 14 62

116

27

Percentage

50.6 20.7 28.7

100.0

Percentage

54.4 36.7 8.9

100.0

Percentage

80.2 19.8

100.0

Percentage

34.5 12.1 53.4

100.0

CHAPTER IV

THE FORM

This chapter is a presentation of the formal analysis of

Gaspard de la Nuit. The form of each piece is shown first by

h table and then by a diagram. The arrangement and terminology

of the tables and diagrams has been explained in Chapter III.

However, it should be mentioned that in counting measures in

phrases and sections the first full measure has been counted

as measure one. An exception to this procedure occurs at tne

beginning of Ondine where the half measure of the introduction

is counted as measure one.

Due to the almost complete absence of conventional har-

monic cadences the formal structure has been determined prin-

cipally from the melodic line of the pieces.

The form of Ondine. The Sonata-Allegro form has been

employed in Ondine.

The exposition begins with a two-measure introduction.

The first subject which follOWS consists of a series of closely

related phrases approximating a ternary design. A transition

leads to Subject II. The second subject consists of two simi-

lar phrases, the melodic material of which has been borrowed

from the first subject.

In the development, both subjects are used at various

pitch levels with varied harmonizations and accompaniments.

A new two-measure melodic idea is introduced in this section.

28

29

The subjects appear in reverse order in the recapitula

tion. In addition to being somewhat curtailed, the subjects

are melodically and harmonically modified. Ondine closes with

a short cadenza followed by three measures of an arpeggiated

C-sharp major triad.

The details of the formal analysis of Ondine are shown

in TABLE VII and FIGURE 6.

Portion

:EXPOSITIUN Introduction Subjeot Ia Subjeot Ib Subjeot 10 Transition Introduotion Subjeot IIa Subjeot lIb

DEVELOPMENT Section 1 Section 2

Section 3

Seotion 4 Section 5 Section 6

(Retransi tion)

RECAPITULATION Subjeot IIa Transition Subject Ia Subjeot Ib

TABLE VII

THE FORM OF ONDINE

Souroe of, and/or treatment of materials

like Ia like 18

like IIa

Subjeot 18 Motive Z (new) Subjeot Ia Motive Z Subjeot IIa Motive Z Motive Z Motive Z

varied

varied varied

Number of measures in phrases, seotions, or motives

2 6 6 8 8 2 5 5

3 2 3 2 5 3 2 4

6 8 4 4

Measure numbers

1 - 2 3 - 8 9 -14 15-22 23-30 31-32 33-37 38-42

43-45 46-47 48-50 51-52 53-57 58-60 61-62 63-66

67-72 73-80 81-84 85-88 ~

Portion

RECAPITULATION (Cont.) Cadenza Closing chord

TABLE VII (CONTINUED)

Source of. and/or treatment of materials

Subject Ic

Number of measures in phrases, sections, or motives

1 :3

Measure numbers

89 90-92

CA .....

EXPOSITION

Subject Ia Ic (like Ia) Transi t10n Introduction 1 3 ____ _

Ib (like Ia) 9 ------

15 ______ _ 23 ______ _

Subject IIa lIb (like IIa) 38

Introduct ion 31_ 33 ___ _ - - - --

DEVELOPMENT

Sect. 1 (Sub ject Ia) 43 __

Sect. 2 Motive Z (new) 46_

sect. 6

(Sub ject Ia) 48 - --

Sect. 4 Motive Z .28_ -

Sect. 5 Motive Z 61

Retransltion (Motive Z)

- - §.3 __ _

RECAPITULATION

Sect. 3 Motive Z ,21_

(Sub jact IIa) 53 ___ _

Subject IIa (var1ed) Transition Subject Ia (varied) £.7 ____ _

Subject Ib (varied) 85 - - --

73 ______ _ 81 __ _

Cadenza (Subject Ie) 89

FIGURE 6

FORM OF ONDlNE

Closing chord 90 __

~ l'O

33

The ~ ££ ~ Gibet. A ternary design has been employed

in Le Gibet.

The introduction consists of a repeated octave which is

used as a pedal point throughout the entire piece.

Part A and part B each consist of a series of five phrases.

The first phrase of part B is a transposition of the first

three measures of the final phrase of part A. These two parts

are further related by a descending melodic whole step which

occurs at the end of phrases band c of part A and in phrases

f, g, and h of part B.

The return of part A of Le Gibet which corresponds to the

recapitulation of Ondine has been given a similar treatment.

The original melodic matel'ial appears in reverse order as in

Ondine. Only three of the original five phrases return and

these are separated by interludes. The repeated octave which

has been used throughout the piece is all that appears in the

two closing measures of Le Gibet.

A detailed formal analysis of Le Gibet is given in TABLE

VIII and FIGURE 7 which follow.

Port1on

PART A ---- Introduction

Phrase a Phrase b Phrase a Phrase c Phrase d

PART B - Phrase d

Phrase e Phrase t Phrase g Phrase h

RETURN OF PART A Pbrase1 -Interlude Phrase c Interlude Phrase a Codetta

TABLE VIII

THE FORM OF LE GIBET

Source of, and/or treatment of materials

like phrase b like phr ase a

transposed

like phrase e

like phrase d phrase e

phrase e

Introduction


2 3 2 2 2 5

3 3 5 4 3

5 2 2 4 3 2

Measure numbers

1 - 2 3 - 5 6 - 7 8 - 9 10-11 12-16

17-19 20-22 23-27 28-31 32-34

35-39 40-41 42-43 44-47 48-50 51-52

(,:! ~

~~=--"'-~~7""-

PART A

Introduction 1

PART B

Phrase a 3 - --

b 6

a 8_

c (like b) 10 - -

d (like a) 12 ___ _

d (transposed) 17

e f (like e) g h 20_ _ 23 ___ _ ~8_ _ _ 32 __

RETURN OF PART A

Phrase i (like d) 35 - - ---

Interlude (phrase e) 40

a Codetta (introduction) 48_ 51

FIGURE 7

FORM OF LE GIBET

c 42

Interlude (phrase e) 44 __ _

CA C1I

36

The form of Scarbo. The Sana ta-Allegr·o design has again

been used in Scarbo.

The exposition begins with a long introduction. Subject

I and Subject II each consist of a series of phrases, some of

which are repeated. There. is no transition between the subjects.

In the development, the first subject has been utilized

to a greater extent than the second subject. In sections nine

and ten a new theme has been introduced and alternated with

material from both subjects. This new theme has been developed

from the tllree-tone motive of the introduction.

The recapitulation begins with a modified version of the

introduction. The subjects which appear in their regular order

are curtailed. The recapitulation has the character of another

development section due to the varied treatment given the two

subjects.

The coda uses material from both subjects.

The details of the formal structure of Scarbo are shown

in TABLE IX and FIGURE 8 which follow.

Portion

EXPOSITION Introduction Subject Ia Interlude Subject Ib Interlude Subject Ib Transition Subject Ic Subject Id Subject Ia Subject IIa Subject IIa Subject lIb Subject IIc Subject lId Subject lIe Sub j ect lIt" Subject IIg Subject lIt" Subject IIg Subject Ilh Subject IIi Transition

TABLE IX

THE FORM OF SCARBO


repetition

varied Subject Ib repetition like Ic varied

curtailed

l1ke lIb like lIb like lIb like IIa 11ke lIt" transposed transposed

l1ke lIb. Subject IIh


7, 7, 17 5

14 7, 7

8 7

6, 9 4, 4

7 11 12 10 8 5 8 4 6 5 6 5 4 4

16

Measure numbers

1 -3l. 32-36 37-50 51-64 65-72 73-79 80-94 95-102

103-109 1.10-.120 12.1-J.32 133-.142 143-150 15.1-.155 156-163 164-.167 168-173 174-178 179-184 185-.189 190-.193 194-197 198-2.13

(A ..;f

TABLE IX (CONTINUED)

Portion Source of, and/or Number of measures Measure treatment of materials in phrases, secti~ns, numbers

or motives ---DEVELOPMENT

Section 1 Subject Ib 7, 14 214-234 Section 2 Subject Ib 6, 15 235-255 Section 3 Subjeot Ic 4, 4 256-263 Section 4 Subject Ic 4 264-267 Section 5 Subject Ib 4, 4 268-275 Section 6 Subject IIf and Ic 1, 4, 8 276-288 Section 7 Subject lIt and Ic 2, 4, 8 289-3U2 Section 8 Subject lIt and Ic 2, 9 303-313 Section 9 Xa (new theme) 4 314-317

Subject Ic 3 318-32U Xb (new theme) 3 321-323 Subjeot lIt 1 324

Sect10n 10 Xa 4 325-3S8 Subject Ib 2 329-330 Xb 4 331-334 Subject Ic 3 335-337

Xa and Subject Ic 7 338-344 Section 11 Subject Ic 4, 4, 13 345-365 Section 12 Subject lIt 16 366-381 Section 13 Subject Ia 13 382-394

RECAPITULATION Introduction 7, 7, 13, 8 395-429 Subject Ib Augmentation 7 430-436 Interlude 4 437-440 Subject Ib Augmentation 7 441-447 Transition 6, 6, 8, 9 448-476 ()I

Subject IIa varied 7, 8 477-491 m

Portion

RECAPITULATION {CONT.} Subject IIa Subject lId Subject lIt Subject IIg Subject lIt Subject IIg Subject IIh Transition

CODA Section 1 Sect10n 2 Section 3 Section 4 Section 5 Section 6 Section 7

TABLE IX {CONTINUED J


transposed varied varied varied transposed transposed repet1tion Subject IIh

Subject lIt Subject IIf Subject Ia Subject lIt Subject Ib Subject IIf Introduction

Number of measures in phrases, sectIons, or motives

10, 9 10

6 5 6 5

4, 4 5, 7

5, 5 7 4 8

10 14 12

Measure numbers

492-510 511-520 521-526 52'7-531 532-537 538-542 543-550 551-562

563-572 573-579 580-583 584-591 592-601 602-615 616-627

C.4 (0

EXPOSITION

Introduction 1 8 15 ------- ------- -----------------

Subject Ia Interlude Ib Ib (repetition) 32 ___ _ 37 51 ------------- ------ ....

58 _____ _

Interlude Ib (varied) Transition (Ib) 65 ______ _ 73 _____ _ 80_ _ _ _ _ 86 _______ _

Ic 99 - - --

Id (like Ic) 103 ____ _

Subject IIa 121 ------------

Ia (varied) 110 -----------IIa (curtailed) 133 _______ _

lIb ,143 _____ _

Ic 95 - - --

IIc (like lIb) 151 -- ---

lId (like lIb) 156

lIe (like lIb) 164 __

lIt (like IIa) IIg (like lIt) lIt (transposed) --------

IIg (transposed) 18£ - - -

IIh 190 - - --

IS.§. ___ _ 17.1 __ _ 179 ___ _

IIi (like IIh) 1,91 --

FIGURE 8

FORM OF SCARBO

Transition (IIh) 198 ----------------

tIIoa

___ ~~ __ ~._~" .... _",,~"e, "

DEVELOPMENT

Section 1 (Ib) 214 _ _ _ _ _ 221 ___________ _

Section 2 (Ib) 235 _ _ _ _ 241 ____________ _

Section 3 (Ie) 256 _ _ 260 _ _

Section 5 (Ib) Section 6 (IIf and Ie) 268 272 ---- ---- :E,76 277 _ _ 281 _____ _

Section 7 (IIf and Ie) 289 g91 _ _ 295 _____ _

Section 8 (IIf and 10) 303 302, _ _ _ _ _ __

Section 9 Xa (new theme) 314 -- --

Section 10 Xa (Ib) ,225 _ _ 329

Section 11 (Ie)

(10) ~18 _

Xb 331 __

345 349 353

Xb 321 _

(Ie) 335 - --

(lIt) 324

(Xa and Ie) 338 -------

---- ---- -------------

FIGURE 8 (CONTINUED)

Section 4 (Ie) 264 __

... .....

Seot1on 12 (lIt) Seotion 13 (Ia) 366 _ _ _ _ _ _ _ _ _ ____ _ 382 __________ _

RECAPITULATION

Introduotion 395 402 409 421 ------- ------- ------------- ----------

Subjeot Ib (augmentation) 430 ____ _

Transl tlon Seotion 1 448 ------

Seotion 2 454 ___ _

Subject IIa (varied) 477 484

Interlude 437 - - --

Seotion :3 460

Subjeot Ib (augmentation) 441 -------

Seotion 4

-------- 468 ____ . __ _

IIa (transposed) 492 502 ------ -------- ---------- ---------

lId (varied) 511 -------- ..... -

IIg (transposed) 538 __ _

I III

IIi' (varied) 521_ - - -

543 __ I III .§.47 __

IIg (varied) 527 - - - --

lIt (transposed) 532 ------

Transition (IIh) 551 _ _ _ .§.56 _ _ __ _

FIGURE 8 (CONTINUED) .. to

CODA

Sect10n 1 (IIr) 563 _ _ _ 56~ __ _

Seotion 5 (Ib) 592 _______ _

Sect10n 2 (lIt) 573 ____ _

Seotion 6 (IIr)

Section 3 (Ia) 580 __

Section 4 (lIt) 58! _____ _

Section 7 (Introduction) 616

FIGURE 8 (CONTINUED)

... ~

CHAPTER V

TONAL ANALYSIS

The present chapter contains a complete tonal analysis

of Gaspard de la l!Bll showing how keys and basic roots have

been determined. The analysis has been done and is presented

phrase-wise and section-wise. In each illustration the names

of the chords are shown below the staff while the chord roots

and their duration appear in notation on the staff.

In addition, the basic roots and keys which have been

determined by the phrase-wise and section-wise analysis are

shown by a graph which follows the discussion of the tonal

analysis of each piece.

I ONDINE

EXPOSITION

Introduction (meas. 1-2).

l~ <~Q

'Cf'

The key of C sharp is indicated by these two measures

of a trilled C sharp major triad.

Subject Is (meas. 3-8).

Cfct (Sl)

I J. Af'(S1)

44

J. I J

45

Subject Ib (meas. 9-14).

Di9(S2) B'(Sl) Dw'\S2) :B"(S1) if 1'(") i~

Subject Ic (meas. 15-22).

C'''(Sl)

Ii r II r: J.

The entire first subject is in the key of C sharp major.

The return of the melody and harmony of Ia in the first two

measures of Ic together with the sUbdominant-tonic progression

from measures fourteen to fifteen maintain the tonality of C

sharp despite the fact that the tonic chord is a first species

nin th chord.

Transition (meas. 23-30).

I©:~ ~f ~. I;. J Itt E: 11;\ 116 ; ;

D,"(S1}(11) Bt7 (S3) El'(Sl) A~'(S3) ] 'l(S1) 'B-' (61)(13)

This transition is in the key of G sharp. The tonic

chord of the first measure and the dominant eleventh chord of

the next three measures seem to justify this analysis. The

46

remaining chords starting in measure five are III, VI, II,

and III.

Introduction (meas. 3~-32).

IfJFt'6l C· n71f1 ~ Gt-

Subject IIa (meas. 33-37).

Q

G4f'l(S1)(-13)

SUbject lIb (meas. 38-42).

19:f;1~if Zl Ig r· Ire e It e .g Ii J I I \ 1 f G #'1 (Sl)(-13) FfQ(Sl) FJ-~(S2) Fit"' (Sl) F1-"l(Sl) D~

The entire second subject inc~uding its introduction is

in the key of G sharp. The dominant chord in phrase a is a

third species seventh cl10rd rather than the usual first species

type. Phrase b ends with a dominant triad.

DEVELOPMENT

Section 1 (Ia) (meas. 43-45).

8

The basic root is D sharp whi~e the first species ninth

chord on A is the relief chord.

47

Section g (Motive Z and Ia) (meas. 46-50).

f?~ijq9qqqij I b. I; d·ltt J. be .z b· I z. d

C7lS1) GI17 (51) C C"(Sl)- bP"(Sl} C9 (S1)

The basic root is C. The relief chord is the first species

seventh chord on G flat.

Section 3 (Motive Z and IIa) (meas. 51-57).

Q. I I; d.14d. ; I )1 A7(Sl} E!>'l(Sl)

Throughout this entire section, except in tile last measure,

the tone A is used as a pedal point. The basic root for this

section is A. All other chords are relief chords.

Section 4 (Motive Z) (meas. 58-60).

I o

The basic root is C sharp while the relief chord is a

first species seventh chord on G.

Section ~ (Motive Z) (meas. 6l-62).

:B~"(S1) E'1(S1) B "~(Sl)

The basic root is B flat. The relief chord is the first

48

species ninth chord on E.

Section ~ (Retransition) (Motive Z) (meas. 63-66). ~~-------- ~--~-- -

In this section there are four basic roots, each one oc

cupying a measure. The melodic figure of the first measure

recurs sequentially in each of the following measures.

RECAPITULATION

Subject IIa (varied) (meas. 67-72).

L·

The key is B minor. This is one of the few places in

Gaspard de l! Nuit where a first species dominant chord pro-

gresses to a tonic chord.

Transition (meas. 73-80).

19:ij~ijqq # );>14'0 glri# r 11r' E7 Er . t=' ~ ~~~ .y (j C{b) Ftlb) F."'(SIt)(ll) 4. (It,") c: t .. ,,,}

19:f(i$ r ,J j I ~~ri I J. q ~ .

Ff7 (Slf.)(13) a. (It-It.) Gf7(S1) F*7(S"'}(~3) D~~ (S 1)

49

The first four melody tones of the original transition

which occur after Subject Ic are used with the C major chord

in measures one and two of this transition. In the third

measure this same melody commences again, but then continues

as in the original transition.

The basic root is C for the first two measures but shifts

to F sharp for the remainder of the transition.

Subject I! (varied) (meas. 81-84).

The basic root is G sharp.

Subject 12 (varied) (meas. 85-88).

The melody of this phrase which is quoted above is un

harmonized. All the tones except G sharp are in the D melodic

minor scale. This phrase can be interpreted in D minor or as

having a basic root D. In the present analysis the key of D

minor has been chosen.

50

Cadenza (Io) (meas. 89).

C/Eb-'$Sl) :Bj(o ,}(O'lo ~tO CAo7o :BYio

\9." [ ~i e : ~ f ,~ This polyohordal oadenza begins and ends with ohords

built on E flat and D sharp with their roots in the bass.

This fact coupled with the relative duration of these chords

makes D sharp the basic root.

Closing chord (meas. 90-92).

a~ ,

The basic root for these three measures is C sharp.

The graph showing the basic roots and keys for Ondine

follows.

B~

A

G#

G

Ft

F

E

Eb

D

C#

C

B B p

A

1 Measures

2i

Le<sen d ~ --= Keys -- !; basIc r oots

t ,

-

!

r

I I 51 58

FIGURE 9

TONAL ANALY SIS OF ON DINE

I I

.....

l..-

I..-I

-

61 ~3 6 5 , ",.,. hb

P, ch t'latr'eS

, I BII

A

G:

G

n F

E

- D:#-or E$

- D

C ~

c B Bp

A

, I 7 '73 75 81 85 89 90 9:<"

. . .

.

52

In view of the preoeding anal~sis the following state

ments can be made:

1. Ondine begins in the ke~ of C aharp and ends with

a basio root C aharp.

2. In the exposition, the first subjeot is in the key

of C sharp while the second subjeot is in G sharp, the dominant

ke~.

3. In the reoapitulation, subjeot IIa, whieb appears first,

is in the key of B. Subject Ia has a basio root G .harp and

subject Ib is in the key of D minor.

4. Keys have been established in phrases and .ections

totaling fifty-tive measures while basio roots have been u.ed

in thirt~-.even measures. Of the total ninety-two measures

these figures represent 59.8 per cent and 40.2 per cent respec

tively.

5. All twelve tones except F and G have been used as

basic roots and/or as key oenters.

S. Tones outside the sca!e of C sharp major have been

used as key centers anq{or basic roots in only eighteen measures.

This is 19.6 per cent ot the total number of measures in the

pieoe.

7. The tonic tone, C sharp, and the dominant, G sharp,

have been used as basio roots and key centers in phrases and

sections tota!ing twenty-nine measures and twenty-tive measures

respectively. Taken together, these figures represent 59.8

per oent of the total measures in Ondine.

53

II LE GIBET

PART A


I*~~&i i ¥jl,,?j3:jJ ~ "S:;:~~':,,;;::~'/ "!"'",',, '

This repeated B flat which constitutes the introduction

continues throughout the entire piece as a pedal point.

Phrase ~ (meas. 3-5).

I ;

As shown above, the chords of this phrase are built in

fifths and parallel the melody which is in the top voice.

These chords which conform to the natural minor scale of E

flat establish the key of E flat minor.

Phrase b (meas. 6-7).

A diminished triad on B flat is the only chord used in

this phrase. The tone B flat is the basic root for the phrase.

Phrase ~ (meas. 8.9).

12:~~tb8f!lJ~ i--' ..tp(q) C ~(q) D~~) ..Q.~(t.l)

Only the second and third measures of phrase a recur

here. The key, of course, is E flat minor.

Phrase c (like b) (meas. 10-11).

54

A third species seventh chord on B flat is the only chord

used in this phrase. The basic root is B flat.

Phrase d (like a) (meas. 12-16).

19:~p) , I 1 "l ,;- I; i ~I £ C;' • r. ,. Ir~Q

-e- . {b(*) B~ -CJ(Sl)(11) BbQ(S1) ~Wj.)

This phrase which closes with two measures of chords

built in fifths and fourths, as shown above, is in the key

of E flat minor.

PART ~

Phrase d (transposed) (meas. 17-19).

r E' P -'t (S1)(11)

The tone E flat which is used as a pedal point throughout

this phrase is the basic root.

55

Phrase e (meas. 20-22).

Fp'(Sl)

The basic root for this phrase is F flat since it 1s the

most used root and the eenter of harmonic activity.

Phrase f (like e) (meas. 23-27).

\

The tone E is the basic root for the first measure and

a half of ttlis phrase. The measure and a half of relief

chords which follow lead to the basic root, C sharp, of the

last two measures.

A",S1)

56

Only the pedal point, B flat, is sounded with the melody

in tLe first measure and a half of this phrase. The melody

tones, all of which are diatonic in d minor, supported by the

dominant seventh chord in the second measure of the phrase,

establish the d minor tonality. Despite their chromatic

structure, the roots of the remaining chords are in the d

harmonic minor scale.

Phrase h (meas. 32-34).

Although the dominant harmony is not used in this phrase,

the g minor tonality is indicated by the tonic triad of the

first measure and the entire melodic pattern which is derived

from the natural minor scale of G. The chords of the last t'NO

measures are built on the submediant of the G minor scale.

RETURN OF ~!

Phrase 1 (like d) (meas. 35-39).

J G'1(S3)

l~' ~ ~l ,~ )::? It a l ~~#* I

Cct(S3) t C'(S3} f Ap C"{S3)

The tone C which is used as a pedal point throughout this

phrase is the basic root. All chords built on other pitches

57

are relief chords.

Interlude (phrase e) (meas. 40-41).

The basic root is G flat.

Phrase c (meas. 42-43).

The basic root is G flat.

Interlude (phrase e) (meas. 44-47).

I !h\\& njn~- • ·· .. ·"?:"Ifi·t. Gb'J {Sl} ~b" ... b(4-) Ab'lt1,)(+1.1)

One and one-half beats of the final melody tone of phrase

c have been elided and this interlude begins at that point.

Despite this fact, the basic root, G flat, continues for the •

full time of the phrase plus one measure (measure 44). Hence,

G flat is the basic root for the anacrusis and first full

measure of this interlude.

The last three measures of the interlude are felt to be

in the key of E flat since the chords are built on the principal

scale steps of that key.

58

Phrase a (meas. 48-50).

E •. ... 0 I .; 1-......

Eb"(S2.)

This final phrase of Le Gibet, an almost exact recurrence

of the initial phrase of the piece, is in E flat minor. All

the chords conform to the natural minor scale of E flat.

Codetta (mess. 51-52) • . -~~ .... -------------

~ Gibet close~ with this repeated B flat which has been

used throughout the entire piece as a pedal point.

The graph showing the basic roots and keys for Le Gibet

follows.

I •

a.sures

~ I I

l-

8 10 12

le~end :

-- = keys

17

--- = basIC roots

I I U, 2..8 32

F IGURE 10

T ON AL A NALYSI S OF LE G IBE T

I I I . 35 4 D

I 52.

t> ltch na mes

Bb

A

A~

G

G\:7

F

E or Fb

Ell

D

etc

60

In view of the preceding analysis, the following state-

ments can be made:

1. Le Gibet begins and ends in the key of E flat minor.

2. Part A begins and ends in the key of E flat minor.

3. The final phrase in the return of part A is in the key

of E flat minor.

4. Keys have been established in phrases and sections

totaling twenty-seven measures while basic roots have been used

in phrases and sections totaling twenty-five measures. Of the

total fifty-two measures, these figures represent 51.9 per cent

and 48.1 per cent respectively.

5. In phrs.ses and sections totaling only eighteen meas-

ures have tones outside the natural minor scale of E flat been

used as key centers and/or basic roots. This is 34.6 per cent

of the total number' of measures in the piece.

6. The tonic tone, E flat, and the dominant, B flat, have

been used as basic roots and key centers in phrases and sections

totaling twenty-three measures and four measures respectively.

Taken together these figures represent 51.9 per cent of the

total measures in Le Gibet.

III SCARBO

EXPOSITION


1':%; l'I 'l ~:r!r -I Z~ -7 7. ;.< -

crt E{+~)

61

19',11. 'L 1'2 r,

cr#

17.12121 I'; 12./- -Et+6)

The three-tone motive of the first measure consists of

the leading tone, tonic, and dominant tones of the key of G

sharp. The augmented sixth chord of the next five measures is

sounded over a dominant pedal point, D sharp. The entire intro

duction consists of these factors which well establish the key

of G sharp.

Subject Ia (meas. 32-36).

\

19:ti~t .\. \ ), I r' \) .

This phrase is in the key of G sharp. The D sharp major

triad is the dominant chord and provides the resolution for

the final augmented sixth chord of the introduction. The phrase

ends with 8. subdominant chord.

Interlude (meas. 37-50).

v~r\*ft .t. G

Ct(b,9)

./ } .

The basic root is C sharp.

Subject Ib (meas. 51-64).

:B-5

62

I ]. :11 E"(Sl)(13) B-S

The basic root is B while the seventh chord on E is the

relief chord. The bass tone for the entire phrase is B.


;: /. I r' G-1I'7(S3)


Subject Ib (varied) (meas. 73-79).

I '( I II. I z I [ I 1. I i I 13-5

The basic root is B while the seventh chord on E is the

relief chord. The bass tone for the entire phrase is B.

Transi tion (Ib) (meas. 80-94).

~:\\ r l~ ~'Ir If

I !r' I r- I {

63

The basic root is E since the chords built on that tone

dominate this transition. All chords built on other tones are

relief chords.

Subject Ic (meas. 95-102).

l:r*1\ ). t);*Wt~·j 1: :i l)J

The basic root is D sharp.

Subject Id (like Ic) (meas. 103-109).

I'J\\ it I)· 1 ~ 1 ~ 121 Z 1 Z 1- I ]j

The basic root is D sharp.

Subject 180 (varied) (meas. 110-120).

I ), I ,.. i \

T. \ ,.

C. :Dt"7(S3)(11) Dt

The first subject is brought to a close with this recur-

rence of phrase a. The basic root is D sharp for the entire

phrase.

-7 I 11. I P. I 7·

64

Ie 1 7

The basic root is A sharp. All chords built on other tones

are relief chords.

Subject IIa (curtailed) (meas. 133-142).

., I

• • , I Z :B7(Sl)(t23)(.,.11) At7(Sl)(tl3)(! 5)(13)

19~\\ '2 :; To

p. ( .' ~"'.···h . pxp U". >' J ;i'~' :.~'

I k j '1 ::B7(Sl)(t23)(+11) A1I'1(Sl)(tl3)(13) . A'7(SlXt!3) Gt:7(S1)\1j3;{13)

Again, the basic root is A sharp and all chords built

on other tones are relief chords.

Subject lIb (meas. 143-150). - -" - "'--

I Y. I z I 19:iJ(i4 0 I Z I z w fi If ~It

~""(s1) :B(o)

The key is B major. This is another rare instance of

a dominant chord resolving to a tonic triad and confirming a

key.

65

Subject IIc (like lIb) (meas. 151-155).

G! '1 (S1) Fil(51)(~3)(13) Ff"(S1) 13\b) C;"($1)(13)

As in Subject lIb the key is B major.

Subject lId (like lIb) (meas. 156-163).

19liJ', r 1 t 1 r l!f k r I r I r' 111 IJ ~ J 1111 r-epeated. tOl1es A ~-'1(Sl)(-t11)(l3) C "(53) Dp (l::I)

This phrase which is like phrase b of the second subject

is in the key of D flat major. A dominant thirteenth chord

followed by a leading tone seventh chord which r e sol ves to a

tonic triad confirms the key.

Subject lIe Jlike lIb) (meas. 164-167).

I ;t: ~p 9} ~ i p, I j' I r' Itt t1 , )1) l¥ I

Ap -'(51)(1-11)(13) C7(S3) DlP(h) D~+(+'f')

This phrase which closes with another authentic cadence

is in the key of D flat major.

Subject IIf (like IIa) (meas. 168-173).

:B~7 (52.)(+11)

The basic root for this phrase is B flat.

66

Subject IIg (like IIf) (meas. 174-178).

).

The tone B flat is the basic root.

Subject IIf (transposed) (meas. 179-184).

El17(S2)(+11}

The basic root is E flat.

Subject 1lg (transposed) (meas. 185-189) •

? . , f' El:J'T(S2.)(+l1) E ,,7(S"')(+11)

The basic root is E flat.

Subject 11h (meas. 190-193).

Dt <f(S3J

TIle basic root is D sharp while the thirteenth chord on

B is the relief chord.

Subject !Ii (like IIh) (meas. 194-197).

:8-9 (51)

67

The basic root is D sharp while the chord built on B is

the relief chord.

Transition (IIh) (meas. 198-213).

fO:8i·i• § C· V- I '1. 7;-

• l z- I ·2 I· I, (. t·

a. a. (+If.) b) G-i-'\ (S 1) F~(+4-)b)

The tone A is the basic root for five measures. ~le relief

chord on G sharp of the 'sixth measure is followed by ten meas-

ures where the basic root is F sharp.

DEVELOPMENT

Section 1 (Ib) (meas. 214-234).

F#-s

F*-S If'(Sl)(B) :B'7(Sl) ".B'(S1)(B)

I ~i'P:: I ~ I ~. I Z I ,:;- ;'; I Z I " 1tj£~ .L It r. ?

The basic root for tilis section is F sharp. The last

seven measures of this section are a prolongation of the re-

lief chord on B.

68

Section 2 (Ib) (meas. 235-255). . ,

• I J. ). I 9. I

C.,-5 Ct:-5

I :t ¥it t I .~. I r ' I . ('

1 Z I 9. I 7. I V. I '7. I ~. I This section is a transposition of section 1. The basic

root is C sharp while the relief chords are built on F sharp.

Section ~ (Ie) (meas. 256-263).

( 9:',;\ t

(. I r' I r' I ij r ;t :11

G#: .1L G .. ~(S1.) F c~

The basic root is G sharp. The remaining chords are the

relief chords.

Section! (Ic) (meas. 264-267).

19}!jq~ ~ v· L' (. • J r,

. F1F-~(S1) F1f F#= -'" (S1)

The basic root is F sharp for this section.

Sec tion.§ (Ib) (meas. 268-275).

W§ II\. I P. I Y. I P. I ? I i. I 7. I 9. I -:8'1 (S 4-)

69

The basic root for this section is B.

Section 6 (IIf and Ic) (meas. 276-288) •

rp:h q r' r' I b r' , , .,' . I r : JI r' G 7 (S1H+ll)(13) Go R..~ 'B'1(S3) E

W II r I ,.I. I r i I r IV. I ~ I ~ 1 ...t.~ "B'I(S3) E Co G

The basic root is G. All chords built on other pitches

are the relief chords.

Section 7 (IIf and Ic) (meas. 289-302).

I r' IQ ;\, I r' , ;;\ ,tl r' I • E "(Sl){ +11)(1 '3) E c. G-.'1(S1) c. Q.. E

,.\. t , c' I .J r. .7 r·

.7 r·

c C-tr A7(S2.) E

This section is a transposition of Section 6. The basic

root is E while the chords built on other pitches are the

relief chords.

Section 8 (IIf and Ic) (meas. 303-313).

. ' . I p ). I ) .

70

The key of E flat minor is clearly established in this

section. Al though. not nota ted as such, the ninth chords on

C flat are augmented sixth chords which resolve to dominant

harmony in each instance. The final chord of the section is

a tonic triad preceded by a dominant seventh chord ...

Section Q (new theme, Ic, IIf) (meas. 314-324).

19:111 C· I -z r· I r· I ~. "L I •

t Att07" F1t-l"/~) F1t(-~) -t- .g. ( + ij.), )

This section is in the key of B minor. Dominant harmony

is used in all but the last two measures where the tonic triad

occurs.

Section 10 (new theme, Ib, Ic) (meas. 325-344).

19: it J. . } r ./ r· --\. , .7

1 • y-

-8-- D-q (.S1)(1-3)

.} n L, hlli r , J r' I y~ • i

Tit

G '1 ./ 2 .. il· I .). I . / 74>

:at> "(5 1)(1~) lh'(S1)

This section is in the key of G minor. The new tileme

of Section 9 is used here but, this time, is extended. The

key of E flat is suggested by the first species seventh chord

71

of the last three measures but is not confirmed.

Section 11 (Ic) (meas. 345-365).

f91!b~b ~\. I q r I III. I & .\. I .~. I q C· I ;'. ])'1 (S3) E'(51) D'1(S3) D,"1 (S1) D'I(S3) E'(51.) :D"lS3)

!)p'l(S1) D'1(S3) :OJ) F~ d.,0 :n~ Fb "D'{S3)

I ~~r 12 p & .1 ,.ttJj" t 6 c· I ~! I :!. ':'7 ,. I ';7 c.

F~ D'(S3)

The tone D is the basic root for this section. The

chords constructed on other pitches are relief chords.

Section 12 (lIt) (meaa. 366-381).

9---- p-- "-I'Jg9q if I v' I J b~ I.E r I r

C A~+{ ... ") C Gbl"}. C Ap+{+(,)

C Gj,(") C AH(+") C Ap+(+C.} C A~+(~) C Ap+( ... ,,}

19: \1 r· I g ) ,~ pl. 2. 1 »" r, I Sz. •

Ab+(+") C Ab+(+") C

The basic root for Section 12 is c. Section 13 (Ia) (meas. 382-394).

72

w p;1 . I ~3 I 2. I ;. I Z. I ~. ·1

J3bCJ (S2.)

The basic root for this section is B flat. Although a

trill from C to D flat is used for the first seven measures,

tl ... 6 C sounds as a no:nharmonic tone resolving to B f la t when

tL.e ninth chord on B flat occurs.

RECA PITULA'l'I ON


't~ E( .... ")

I ~r ~ it I z I z I .). I 7. I -E t+")

~ E(+ID)

[:rVitl' ;6 I 2·1;t· I V. I 7. I ) I 7. I >. I 9. I Y. I Dl7(Sl)

The key of the introduction is, again, G sharp. The

same harmonic factors that were used in the introduction of

the exposition appear here.

'73

Subject Ib (augmentation) (meas. 430-436).

-9-' Ct -'I (Sl)(tj3)(13)

The key of G sharp continues in this phrase with dominant

harmony in the first three measures. A submediant thirteenth

chord is employed in the last three mes_sures.


), . ·7 ? .

-7 7.

E9{Sl) (;'(S3)

When used in the exposition this passage was truly an

interlude. Here, however, it is transitional in character

with two basic roots. The first two measures have the tone

E for basic root while G is the basic root for the third and

fourth measures.

Subject Ib (augmentation) (meas. 441-44'7).

I;tfif I I .. z I -2 I .;L t ). I 9- ?: I I 7. Z. Q.

. -:....

F~-"(Sl)(13) E-9(S1J(13) E-'(S1)

The basic root for this phrase is F sharp. The last

three mea.sures are a prolongation of the relief chord, the

root of which is E.

• I

~ . ,

74

~i t I

:BP{b) A(,,) BHb) l)tlt) C(b) Dpl") D{") E~(") D(") DHb) C(b) :B(")

b p! I.t b. ~ 1:J-+- \J..IIL ~-+- .... S ..... q1.. ~...L. 19:~ is 9 t t r I :t 1-' C I I I J I

Bb(") A<'-) BL{b) B(~) C(b) D~(") C(") B(") C(") Cl(b) :Dt") n .... (") The tone B flat is the basic root of this section. The

B flat major triad is the point of departure and return for

this series of chords moving by half steps.

Transition, Section 2 (meas. 454-459).

I~:~J-t .. ~, ~. -; < L =t U: r' flo\.

C-jj:~(Sl) J),f'I(Sl) Ct«t(S1) DfF7(Sl)

19:§\~ d:2£12 j\, ,) . J. C#"(S1) IHr7(Sl) Ci-'tlS1)

The tone C sharp which acts as a pedal point for this

section is the basic root.

Transition, Section 3 (meas. 460-467).

The basic root B is the bass tone for this entire secti0c

except the last two measures.

'75

Transi ti on, Sec ti on 4 (meas. 468-4'76).

). G1f~(Sl)(11)

G1t'l(S1)(+1l) A"(Sl)(+ll) E"(Sl){+11) G .. "{S1)(;t-11) A'(Sl){+l1J


Subject IIa (varied) (meas. 4'7'7-510).

Ftf"(S1)(t!3) F 1'=

D#7(S3)

Ft-'(S3) Ft9(Sl}

The tone F sharp which is used as a pedal point through

out Subject IIa is the basic root.

Subject lId (varied) (meas. 511-520). 0-

• 7 r. ,7 z.

76

Ap(",)

The key is A flat major. Twice during Subject lId the

dominant harmony is followed by a tonic six-four while the dom

inant of the key, E flat, is in the bass throughout.

Subject IIf (varied) (meas. 521-526).

F"(S2)(+11)

The basic root is F.

Subject IIg (varied) (meas. 527-531).

F"(S2,) (+11) F7(S*")(+11)

The basic root is F.

Subject IIf (transposed) (meas. 532-537).

The basic root is B flat.

Subject 1lg (transposed) (meas. 538-54~.

I :}l/&~ ). ry Ii

-"1. ? .,t ) .

-t{t-lf)b) :Bb7(S:t)( +11) Bp7{S'I-)t+H)

77

The basic root is B flat.

Subject IIh (meas. 543-550).

The basic root is A sharp.

Transition, Section 1 (IIh) (meas. 551-555).

[g'.!?!; ~ j' I § ,#' •

I ·7 r- I ~r- I ./ I·

et. ""( +*jlo) Q..

The basic root is A.

Transition, Section 2 (IIh) (meas. 556-562).

In this section, each measure has a basic root. The three

tone melodic figure of the first measure is used sequentially

in each succeeding measure. The basj,c root shifts with each

recurrence of the melodic figure. As shown above, the seven

basic roots are A, G sharp, F sharp, F, E flat, D, and C.

Section 1 (IIf) (meas. 563-572).

;. :11

13 G+(+to) 13 :B'1(S1)t+l1.)

78

The basic root is B.


-E Flt'7 -S(Sl) E E

The basic root is E.

Section ~ (Ia) (meas. 580-583).

, , •• ). .7 I •

C~q(S2) C4t'1 (51)

The basic root is C sharp.

Section! (IIf) (meas. 584-591).


Section 5 (Ib) (meas. 592-601).

I ; I i I ;: I 7. I Y. I ? I V. I ?: IE' .

The basic root is F sha.rp.


, 7. I r'

79

~- -.""----~~--~-~---~- .. -.--~ .. --- ----- ,-'------.----------

19:!b~ j. I Y. I z! ;;, I p~ !~ ! ;;I. B

The single bass tone B in the last measure of this section

provides the resolution for the thirteen measures of dominant

ninth chord. Bence, the section is in the key of B.

Section 7 (Introduction) (meas. 616-627) • .

I f)~tf§~ g J I y: I y. I.\. I 9. I z I jl. B :B{q)

19~b!'# . ·z I ~. t J. I ~ .,

II .1. I. . • I

]3' "B" (S Lt- "")

This final section of the coda continues the key of B

major. established in section 6.

The graph showing the basic roots and keys for Scarbo

follows.

A#or B b

A

GJ or AI,

G

F#

F

E

D ~ or E ~

D

Clor D ~

C

"B Ato ... Bb

A Gil:

1 Me-as ures

I 37

I I ~

! I

"

-

I 51 65 13 eo 95 12.1

I

14- 3 15 b

Le~end :

- - - = keys

1Ela

--- = basIc roots

-

179 1 ~

2.35 2!)6 268 'L 16 289 30~ 314- 325 38~ 3 95 2 6lt

FIGURE 11

TON AL ANALYSIS OF SCARBO

I I

I

~

-

-

1-8 % 0 lfb8 tt77 511 511 532 tt5tt

r--

.. ,

1 ~

'--

1

.. .

551 563 573 580 592, 602-557 S8't

Pit c h na.mes

~orBb

A

G'orAb

G

Ft

F

E D#o,.Eb

D

C~orDp

C

B

At,,~Bb

A

G~

81

In view of the preceding analysis the following state

ments can be made:'

1. Scarbo begins in the key of G sharp minor and ends

in the key of B major.

2. In the exposi tion, the introduction and. the initial

phrase of the first subject are in the key of G sharp minor.

Various basic roots and keys are used in the remainder of the

first subject and throughout the second sUbject.

3. In the recapitulation, the introduction and Subject

Ib which follow are in the key of G sharp minor. Various basic

roots and keys are used in the remainder of the first subject

and throughout the second subject.

4. The last two sections of the coda are in the key of

B major.


totaling 181 measures while basic roots have been used in

phrases and sections totaling 446 measures. Of the total

627 measures these figures represent 28.9 per cent and 71.1

per cent respectively.

6. All twelve tones have been used as basic roots and/or

as key centers.

7. In only ninety-eight measures or 15.6 per cent of

the total measures have tones outside the scale of B major

been used as key centers and/or basic roots.

8. The tonic, G sharp, and the dominant, D sharp, of

the key of G sharp minor have been used as basic roots and

82

key centers in phrases and sections totaling 122 measures and

57 measures respectively. Taken togetber, these figures rep

resent 28.5 per cent of the total measures in Scarbo.

9. The tonic, B, and the dominant, F sharp, of the key

of B major have been used as basic roots and key centers in

phrases and sections totaling ninety-seven measures and ei~lty

seven measures respectively. Taken together, these figures

represent 29.3 per cent of the total measures in Scarbo.

Summary. The following observations can be made of the

complete work, Gaspard de la Nuit:


totaling 263 measures while basic roots have been used in

phrases and sections totaling 508 measures. Of the total 771

measures, these figures represent 34.1 per cent and 65.9 per

cent.

2. Ondine begins in the key of C sharp and closes with

a basic root, C sharp. This indicates a tonal center of C

sharp for the entire piece.

3. Le Gibet begins and ends in the key of E flat minor

which indicates a tonal center, E flat, for tne entire piece.

4. Scarbo begins in G sharp minor and ends in B major.

As shown in items 8 and 9 on page 81 the tonic and the domi

nant of each key are used with almost equal frequency. How

ever, since the last sections of the coda firmly establish the

key of B major, the listener would likely choose B as the tone

center. In the present analysis it will be considered as such.

83

5. In each piece the tones of the scale represented by

the tonal center of the whole piece are used as basic roots

and temporary key centers more frequently than tones outside

the scale.

CHAPTER VI

CONCLUSIONS

Gaspard ~ la ~ is preponderantly harmonic music.

Except for the relationship of the melodic line and the bass

line there is an almost complete absence of contrapuntal devices

in the work. Its characteristic sound and its tonal implica-

tiona depend not only upon the function of the vertical struc

tures but upon the kinds of vertical structures used and the

frequency of their occurrence.

As shown in TABLE V on page 26, Ravel was partial to

vertical structures larger than triads since 58.3 per oent of

his harmonic material is in that category. In addition, ap

proximately fifty per cent of the triads have added tones

(TABLE VI on page 27). Of the added tones, the added major

sixth is the most frequent.

According to TABLE V, the order of preference for chords

larger than triads is ninth chords, seventh chords, thirteenth

chords, and eleventh chords. Among the seventh and ninth chords

Ravel favored first and third species seventh chords and first

species ninth chords (TABLE VI on page 27). This information

contradicts Roland-Manuel insofar as Gaspard de la Nuit is

concerned, when he states,

From this [what seems to be a projection of the melody into the harmonic plan] arises the marked preference in his harmony for the chords known as secondary sevenths and ninths, which are naturallY formed

84

85

on modal tonics of D and E.l

These chords which are classified as second species seventh

and ninth chords in the present analysis are very infrequent.

In fact, Ravel used only two second species seventh chords

and only ten second species ninth chords in this entire work.

As indicated in TABLE VI on page 27, the chord of the

augmented eleventh is much more frequent than the other types

of eleventh chords. This chord, based on the principle of

natural resonance has been described as "characteristic of

Ravel's harmonic idiom."2 Thirteenth chords are slightly more

frequent than eleventh chords. Taken together, e~venth and

thirteenth chords constitute approximately twenty per cent

of the vertical structures used.

Among the most infrequent of all vertical structures are

diminished triads, diminished seventh chords, and augmented

triads. Of the t en augmented triads employed, all have added

tones. Other infrequent structures include second and fourth

species seventh and ninth chords.

Ravel's preference for classical form is exemplified in

Gaspard de la Nuit by his use of Sonata-Allegro form in Ondine

and Scarbo and the ternary design of Le Gibet. However, with

in these structural designs he has maintained complete freedom

and flexibility.

lRoland-Manuel, Maurice Ravel, p. 115.

2Gilbert Chase, "Maurice Ravel," The International Cyclopedia of Music and Musicians, Third Edition, p. 1502.

86

The subjects are not written in part forms or in phrase

forms such as periods and double periods. Rather, they con

sist of a series of phrases, some of which recur and some of

which are repeated. The phrases of the first subject of

Scarbo are interspersed with interludes and a transition.

In Ondine a transition is used between the first and second

subjects while in Scarbo there is none.

The development sections of Ondin~ and Scarbo consist

mainly of the reiteration of complete phrases from the ex

posi tion with varied harmoniza ti ons and varied accompaniment

figures. Occasionally, some of the original melodic intervals

and original rhythms are modified. New thematic material has

been introduced in the development sections of both Ondine and

Scarbo.

A noteworthy feature of the recapitulation of Ondine

and the return of part A in Le Gibet is the reversal of the

order of melodic material when it is restated in these sections.

In all three pieces the subject material is curtailed in

the recapitulation or in the return of part A.

The varied treatment of the subjects coupled with their

curtailment in the recapitulations of Ondine and Scarbo lend

these sections the character of another development.

Scarbo is the only piece which is concluded with a coda.

Gaspard de la Nuit adds nothing new to formal principles

and devices already in existance.

The common thought in all definitions of tonality has

87

been that a relationship of musical materials to a tone center

is involved. Since the establishment of our tonal system,

composers have continuously extended the boundaries of tonality.

Numerous twentieth century composers have set up their own

arbi trary systems of tonal relationship, contending that the

feeling of tonal unity and tonal r ela tionship can be achieved

by other means than the traditional dominant-tonic formula.

As revealed in the present analysis, Ravel did not evolve

a new system of tonal relationship but extended the boundaries

of the old with the so-called basic root technique.

According to the summary of Chapter V on page 82, each

piece in Gaspard de la ~ has an established tone center by

virtue of the manner in which it began and ended. In this,

Ravel has used a traditional concept.

It is within these two extremities that a new principle

of tonal extension, the basic root technique, has been employed.

Its significance is demonstrated by the frequency of its use.

Basic roots occur in phrases and sections which constitute

65.9 IE r cent of the total measures in Gaspard de la Nuit

(Summary, Chapter V).

As explained on page 17, the basic root is the most fre

quently occuring chord root or the root which occupies the

major portion of the time value in a phrase or section. All

chords constructed on roots other than the basic root are called

relief chords. The basic root and the roots of the relief

chords may have any interval relationship. Since the basic

root analysis is not used in phrases or secti ons where the

88

eatablisI:..tIllent of key by conventiona.l chord re la tionsh.ips is

obvious, it follows that the basic root, the relief chords, and

the type of vertical structures used must not have a relation

ship which will establish a key.

No particular plan seems to have been followed in the in

terval relationships of basic roots or of basic roots and the

temporary key centers of phrases. Tonal unity is B.chieved

simply by using the tone s of the scale represented by tr.le tonal

center of the whole piece as basic roots and temporary key

centers more £requently than tones outside that scale. As

mentioned in the summary of Chapter V on page 82, this is the

case in each piece.

The basic root technique is not needed in the analysis

of e very Ravel work. It was employed in Gaspard de la ID!ll

only after it was found the. t conventional analytic techniq'l,les

failed to satisfactorily explain the tonal relationships.

89

BIBLIOGRAPHY

Chase, Gilbert. "Maurice Ravel," The International Cyclopedia of Music ~ Musicians, Third edition, 1500-1504.

Goetschius, Percy. The Larger Forms of Musical Composition. New York: J. Schirmer, Inc., 1915.

Goss, Madeleine. Bolero, The Life of Maurice Ravel. New York: Henry Holt and CompanY;-1940. --

Hull, Arthur Eaglefield. Modern Harmony. London: Augener Ltd. [no d.].

" Lenormand, Rene. ! StudX of Modern Harmony. London: J. Wil-liams Ltd.[n. d.].

Miller, Horace Alden. New Harmonic Devices. Boston: Oliver Ditson Co., 1930.

Piston, Walter. Harmony. New York: W. "N. Norton and Company, Inc., 1941.

Ravel, Maurice. Gaspard de la Nuit. Paris: A. Durand & Fils, 1909.

Roland-Manuel. Maurice Ravel. London: Dennis Dobson Ltd., 1947.

Shera, F. H. Debussy and Ravel (Dr. Arthur Somervell, Editor, Musical Pilgrim.) London: Humphrey Milford, 1927.

Documents

Gaspard Study of Tonality