Synthesis Essay On Symphony 8

This piece is a 9/8 time signature and is in the key of D-flat major and C-sharp minor between measures thirty-eight to forty-three. The key also never modulates away from these keys. The structure of this piece is in ternary form with a coda. It can be interpreted that section A consists of measures from one to fourteen or on to twenty-six. Either way is a possibility however I believe that the first section goes on to measure twenty-six and the measures from fifteen and twenty-six serve more as a bridge in between the two sections which is part of section A.

Section A begins with a tonic chord in Db major deviating from rules of convention of voice leading; he lacks the tonic note and only introduces it later in this piece. This could also be seen as Debussy starting with chord iii leading into a I chord however that is very unlikely to be Debussy’s purpose because the use of Db chord in measure nine when the phrase is imitated. The possibility of it being a chord I is also shown through the left hand in the first four bars which presents one chord every bar harmonic rhythm. Then the lower part slowly begins to descend while the opening theme is used along with unconventional intervals.

The tempo also changes from andante très expressif to tempo rubato giving this section more freedom but the piece stays at pianissimo. This texture continues on but it gradually gets louder and livelier (peu à peu crec. et animé) until measure twenty-five where the music quickly gets softer with the dim. molto. As compositionally inventive as it is though, it still feels like a conventional diatonic harmony even with the occasional