Briefly outline Debussy’s use of form in Colloque Sentimental. Also state how this relates to, or
differs from, that in Reflets Dans L’eau. [10]
In ‘Colloque Sentimental’ Debussy uses both harmony and motivic ideas to give structure to the
piece overall.
‘Colloque’ is generally referred to as being written in ternary form, an ABA structure. Section A
begins at bar 1 and ends at bar 18, this regarded as the prologue of the music, characterised by the
ghost 2 motif visible in bar 1-2, the ghost 1 motif in bars 2-3 1 , the recitative, monotonal melodic line
(for example in bar 7) which establishes the vocal role of the narrator, and the implied tonality of F
major (hence the F major triad in bar 5 1).
The contrasting section B begins at bar 19 and concludes at bar 48. Debussy uses new melodic
material such as the ‘Nightingale’ motif in bar 21, the heightened lyricism of melody and use of
octatonic harmony helping to differentiate between the juxtaposing sections. The sustained
dominant pedal that underpins the vast majority of these bars characterises section B- the dialogue
between the ghosts, representative of their tense and emotionally charged encounter. The use of
Tristan chords is also a feature unique to section B, these half-diminished chords played in parallel in
bars 31-33.
Although the final section of ‘Colloque’ (from bar 49 to the end) is referred to as a return to section
A, the plasticity of form typical of Debussy’s works leads to this Epilogue section containing a mix of
both section A and B, an integration of previous material heard. It is because of the return of the
recitative narrative vocal melody- re-emerging in bar 51- that this concluding passage is considered
as a developed section A; however, one could very much argue that its harmonic and melodic
characteristics- such as the use of the ‘Nightingale’ motif in bars 53-56, and the octatonic harmonies
which accompany this motif- have more in common with section B than A.
‘Reflets’ is often thought of as a type of rondo, the sections defined as follows: A1 (1-23) B1 (24-34)
A2 (35-49) B2 (50-68) and ending with the coda-like section at bar 69. Similar to the way in which
harmonic and melodic characteristics help differentiate between sections in ‘Colloque’, the
reoccurring use of motifs a, x and y in sections labelled as A- (motif x first heard in bar 1 then later
played in bar 35, y in bar 23 and then and also in bar 813 and a first heard in bar 14 and repeated in
bar 394). Motif B is the key motif for section B, this dotted rhythm motif first appearing in bar 24,
and later moved to the top of the texture rather than the middle in bar 50. The final, coda-like
section, can be viewed as a mixture of A and B materials, given the mixing of motifs x,y and a with b,
and pentatonic harmony (pertaining to section A). It would seem that ‘Reflets’ has a more integrated
form that ‘Colloque’, this most likely due to the development of motivic ideas which can be seen
throughout the piece as a whole.
differs from, that in Reflets Dans L’eau. [10]
In ‘Colloque Sentimental’ Debussy uses both harmony and motivic ideas to give structure to the
piece overall.
‘Colloque’ is generally referred to as being written in ternary form, an ABA structure. Section A
begins at bar 1 and ends at bar 18, this regarded as the prologue of the music, characterised by the
ghost 2 motif visible in bar 1-2, the ghost 1 motif in bars 2-3 1 , the recitative, monotonal melodic line
(for example in bar 7) which establishes the vocal role of the narrator, and the implied tonality of F
major (hence the F major triad in bar 5 1).
The contrasting section B begins at bar 19 and concludes at bar 48. Debussy uses new melodic
material such as the ‘Nightingale’ motif in bar 21, the heightened lyricism of melody and use of
octatonic harmony helping to differentiate between the juxtaposing sections. The sustained
dominant pedal that underpins the vast majority of these bars characterises section B- the dialogue
between the ghosts, representative of their tense and emotionally charged encounter. The use of
Tristan chords is also a feature unique to section B, these half-diminished chords played in parallel in
bars 31-33.
Although the final section of ‘Colloque’ (from bar 49 to the end) is referred to as a return to section
A, the plasticity of form typical of Debussy’s works leads to this Epilogue section containing a mix of
both section A and B, an integration of previous material heard. It is because of the return of the
recitative narrative vocal melody- re-emerging in bar 51- that this concluding passage is considered
as a developed section A; however, one could very much argue that its harmonic and melodic
characteristics- such as the use of the ‘Nightingale’ motif in bars 53-56, and the octatonic harmonies
which accompany this motif- have more in common with section B than A.
‘Reflets’ is often thought of as a type of rondo, the sections defined as follows: A1 (1-23) B1 (24-34)
A2 (35-49) B2 (50-68) and ending with the coda-like section at bar 69. Similar to the way in which
harmonic and melodic characteristics help differentiate between sections in ‘Colloque’, the
reoccurring use of motifs a, x and y in sections labelled as A- (motif x first heard in bar 1 then later
played in bar 35, y in bar 23 and then and also in bar 813 and a first heard in bar 14 and repeated in
bar 394). Motif B is the key motif for section B, this dotted rhythm motif first appearing in bar 24,
and later moved to the top of the texture rather than the middle in bar 50. The final, coda-like
section, can be viewed as a mixture of A and B materials, given the mixing of motifs x,y and a with b,
and pentatonic harmony (pertaining to section A). It would seem that ‘Reflets’ has a more integrated
form that ‘Colloque’, this most likely due to the development of motivic ideas which can be seen
throughout the piece as a whole.
