HARMONIC ANALXSIS

OF
RAVEL'S DAPHNIS AND CHLOE SUITE NO. 2

Presented by

Jeanne Marie White

To fulfill the dissertation requirement tor the degree of

Master of M:uaic

Department of Theory

Eastman School of Music

ot the

University of Rochester

liS¥' 1944
 The author wishes to express her
appreo1at1on to Mr. Bu.rr1.ll .Ph1ll1ps tor
his advice and guidance 1n the organiza-
tion or th1s thesis.
 Preface

In 1910, Kaur1ce-Ravel was coma1ss1oned by Sergei

Diaghiletf, br1111ant and talented director of the Russian
Ballet, to write a ballet on the Greek legend of Daphnia and
Chloe. This type of musical expression was extremely well
suited to Ravel's oolortul and rhythmic style, and he eagerly
accepted the commission. Atter readJusting the libretto to
tit the temperaments or both the Russian choreographer and of
the French composer himaelf, Ravel started to work on the
score in Karch, 1910.
After long preparation and extreme care, the first
performance of ~Rhn1S !Ad gAloe was given on June a, 1912,
at the Chatelet Theatre, with Pierre Monteux conducting.
Unfortunately, the differences of opinion about stage-settings
and interpretation and the inability of the chorus and the
corps de ballet to master all of their parte had their effect.
~hnig !DQ ghloe, as a ballet, was not a sensational success.
"'
However, 1n 1ts symphonic form as two orchestral suites, 1t

has become a masterpiece heard and appreciated all over the

world.
The second suite of the ballet, the one chosen to be
analyzed ln this treatise, 1s divided into three sections:
;,ever de Jour, or Da!n, Pantgmime, and Dapse Uenerale. ot
course, being a ballet, the music does not actually stop
i1
between these sections; they are all connected by transition
sections and by the lack ot authentic cadences. The aect1ons
are easily discernible by the change or themes and moods.
The original ballet production emplOJS a chorus or
men's and women's voices, but since it merely doubles the
instrumental parts in intoned choral chanting and uses no
words, the chorus is customarily omitted in the sympbonic
performances.
It will be the purpose of the author to examine the
symphonic form or the ballet in regard to ita harmonic and
melodic aapeot. Its construction will be analyzed from a
detailed technical standpoint, with no emphasis on the form
or orchestration or the work. The subJects to be considered
will center around the main divisions ot chord structure,
tonality and manipulation or material. The musical examples
will be piano reductions taken trom the score.

iii
 TABLE OF CONTENTS

?age
• • • • • • • • • • • • • • • • • • • • • • 11

CHAPTER I. CHORD STRUCTURE • • • • • • • • • • • • l

CHAPTER II. TONALii"X • • • • • • • • • • • • • • • 29

CHAPTER III. MANIPULATION OF W\TF:RIAL • • • • • • 44
CHAPTER IV. su~x • • • • • • • • • • • • • • • '15

• • • • • • • • • • • • • • • • • • • 79

iv
 1

Chapter I
Chord Structure

In spite or the Impressionistic flavor ot Maurice

Ravel's mus1o 1 the underlying foundations of his style are
erected upon the classical maJor and minor triad. He seems
to have taken the trame•ork ot olass1oal tradition and woven
into it threads of ancient modes, pentatonic •cales, paral-
lelism, seventh, ninth and eleventh chorda treely Joined
together, intriguing rilJthms, and aomet.imes polyharmony. wt
vr1th all th1e 1 Ravel rema1ne olass1oally correct and reserved
1n style.
'l'be Uf!JQi£ pg M,!ngr...T£~
Ylhen considering IJ.I~Em&l .AWt Qhl.A! on the basis of
the triad ~>pearing alone without the presence ot added tones,
the tonality will be found to be alrnost equally divided
between maJor and minor. All of the chord structures in this
first chapter will be discussed aa harmonic entities and will
not be examined with relation to the harmonic progressions in
which they ooour. It will be the purpose of the second and
third chapters to explain their progression and use.
Two measures after 203 1n the brass, one t1nds a
maJor triad built on A, C sharp and E as the fundamental
ht.U"mony, with B tlat and F as upper ne1ghbor1ng tones. Above
th1e are gl1eeandoa 1n 'lihe at.r1ngs and a chromatic passage
with appoggl.at.araa, ne1&hbor1ns tones and escape t.ones. On
the tirst. halt ot the t1~h beat ot ~· meaeure 1s another
complete maJor trlad built on 0 progresa1ng on the second
halt of the beat to an augmented t.r1ad. The next t.wo measures
are of the same basic conetruot1on.
Example 1.

One meaaure before [204] , F.avel usee one at his

favorite dev1oee, parallel ohord progression. Here it 1s
used very etteot1vely in tour trwapets to etteot a modulation
from A maJor to 0 maJor. All ot the triads are maJor.
Example 2.

Anot:Jler example two roeaet.trea after [162] consists or

mixed parallel maJor and minor triads.
 ~~~~:~--.~ -~~--'

nt:t"2YE!i-: =~-!f ~t~: =r =

At two measures att.er (20~ , t..here ia a maJor triad
on D with A shar;:) and B as accented passing tones in the
melody given to the cellos and bassoons. On the fourth beat
of the following paeastWe, Ravel lowers the r sharp to F
natural, malti.ng it a D m1nor sound.
Example 4.

At [21!] , the" is an interesting progression of

triads moving with their roots on the consecutive steps of
the whole tone scale. 'l'he seo't1on begins on a C sharp nulJor
triad, continues 1n that tonality for six measures, adding
the maJor seventh tour measures afier [218] • At (:'119] the
actual whole tone scale appeare with t.he roots of the triads
mov1ng downward through the tollow1n6 keys: B flat maJor,
 4

A flat maJor • <~ flat maJor • E major, D maJor, and C maJor,

sk1pp1ng to another A maJor t-riad one mea.aure before [22<'8 •
Example 5.

The final obord of the aui~e ia oonatruoted on the

A maJor triad at [22~ • Here 1n the laet halt of the second
beat. • we find the same escape chord t1gure tba\ appeared 1n
Example l· 'l'he repeti\1on of this maaal.lre t1ve t.imes Md
then a trill on the A maJor triad in all instruments for six
measures provides a strong final cadence tor the ~nit

wznera.lt·
Besides these examples • there are a few maJor triads
of amall importance ocew-r1ng only for a meas1.1re or t:•e.etion
of a measure, two meaa·~es after [160] , one measure before
[l75J • three measures after [189) , and at [20.~ and the
following measure.
It 1a rather evident that, 1n th1a suite, Ravel
praters using the maJor triad as an entity to represent. gaiety
and animation, s1noe they are used most 1n the lively D&nl!
Qtntr&41• leas 1n ~he f&Q\gmlla, and only once in a parallel
progression 1n the ~I!£ ~ ~·

The principal theme of the Lt!l£ J11 ~ appea.:r-a at

[156] in the bassoona and cellos. The basic harmony 1s built
on the E minor tr1acl. The p.resenoe ot the D natural as a
pedal tone in the double basaea and second bassoons and in
the melody indicates that the passage leads to the D maJor
tonality at [lo'!J • This oont.1nuea for seven measures. The
same paaeag8 1e repeat.ed at [167] but is eig.ht measures in
length.
Example 6.

--·¥··
-----
-
--·-
- - - ---- --------
···-
--- -
----·----
- -
-~ -

.
---~--~· --
.. ----·--- --
-·-- ---

(}. .

Otten, it is difficult to tell whe~her a paaaage 1e

built on a aingle triad or on a triad with added aeoonds,
aixtha, sevenths, ninths, or elevenths, because of the
d1v1a1on ot U1e ohord tones among ~he sections of the orches-
tra. In ca.ees euoh aa these, the p~m1nenoe or the length of
the interval 1n quet\1oc haa been \he deo1d1ng taotor.
The next appearance of a m1nor triad w1\hout 4n1 added
tones ocours at [161] when the Wlderl.11ng tonality 1a A minor.
~-he melody in the piccolo and the interweaving 1ntervals 1n
the strings outline the Porian eoale on A• gtv1ng the whole
passage a modal qual1ty.
F.:xample 7.

Ravel has used very near~ the aame harmony four

measures later at [160] , but on the Dorian soale of G sharp.
The Dorian tonality is outlined b7 the clarlnet and strings
and emphasized by the E sharp in the aoale•l1ke progression
of the bass clarinet and oelloe.
l'hree measares after [162] , there 1s a parallel chord
prosress1on trom the minor triad on E to the minor triad on
F sharp, to the maJor triad on G and baolt &{o)&1n at the
beginning of the next measure to the E m1nor triad with an
added sevent.h.
 7
Example a.

- -~p--=;:- -:::i:c:Jn
~- =-~~--.-=:.:j
~- ··--y--r
c

-- --------·-t:t·-
-f--
- ..
-E ---1=--
·-·-
~
----
.. -
--
--····---
-- ---
--- - - -~---·t··----
----
--
--· --- --·
-- .. ----·------ ·-----~ ----------- -

A B tla\ minor t.r1ad eatablished 1n the horns two

measures betore \i-99] enharmon1oa11J ohangea to the A sharp
m1nor t.r1&d at the 'beglnn1ng ot t.he 12AMI QenfttltJ.t. The
A sharp minor tonall\1 continues for twelve meaaurea.
F~xample 9.

The tour aeaaurea before [202] oona1st, or a mixture

ot maJor and mlnor tr1ada placed in ~e same rbTthm pattern
as 1n Example 9.
A G minor tr1ad with F, A flat and 0 as a ne1ghbor1ng
tone and unaccented passing tone tr1ad m8l be found two
measures before [oo~ on the fourth and t1tth beat.s. In the
next measure, the hanno~ ohanges to the F • A flat, a.nd c
minor tr1ad, w1t.h the G minor triad used as neighboring tone
 a
and passing tone tit!')lre , returning to G minor on the :fourth
and t1tth beata.
Example 10.

Other m1nor t,riad structures rtJ1J.3 be toand at [rnJ ,

[20~ ,( e1x meaaurea att..er [sci) , two measures att.er ~l~ and
at. '(21~.

Ill! AYMtDttst ·IWI !21a3.DAMI4 1'£Ydl

There 1s a ooaplete absence ot either augmented. or
d1m1n1shed tr1ads ased. aa baelo harmonic struot.ure in ~>hn~s

.!B4 g,QJ.Qft. \\ben these two forms ot the triad do appear, they
are used with added tones and will be dlaoussed in the section
dealing with the triad w1th added tones.
'~J!e AQg.~J.Wl o' ~AI
Mmm4 lll4 .SM'kh t.g !cbt tr.\1.4
Ravel seemed to favor the addition of the sixth scale
tone to a tr1ad, rather than the second and, least of all,
the tourt.h.
The first measure of the J&vtr ill, !l.ma,t ~oo] 1s con-
structed on the A minor triad w1t.b the added maJor sixth,
F sharp, as a basic part ot the harmony. The arpeggios in
the flutes outl1.ne this chord. and add the perteot tourt.h • D.
 The r1a1ng ot t.he melodic and haraonio line to t,he
f1ret climax 1n t,ne sult.e [lo'O 1s constructed on the D maJor
triad with the added s1xtJl, a. playing a prom1nent part 1n
the theme and a eligbt.lJ lese prominent. part 1n the under-
lying hanilOn.J•. Th1a tonal1t7 lasts for ten measures u.p to
[lo9] • The same passage is .repeated tor alx measures between

[16!1 and ~6~ •

Example 12.

At [16~ , the theme changes 1n ohs.raoter and the

harmony moves down a whole step to the C maJor triad with the
added sixth scale tone, A, 1n the v1ol1n and chorus parts.
'l'h1a lasts tor two measures only.
 10
The F sharp r.atnor triad appearing at [176] has a
m1nor six~ added to it along wi~ a C natural &gains~ ~he

0 1harp, mak.J.n.a a eloee dlesonant aound.

Example 1:;.

On the t1rst beat or the 1eoond and tourth measures

atter [17~ t.here 11 an I' sha'rp maJor t,riad w1t.h added sixth
D ehal"Jh An F maJor triad w1t.h D also appea.ra on the eeoond

beat of the f1rat meature•

Example 14.

At. [21~ 'l'fe f1nd a maJor triad plue an added sixth B

1n the key of D maJor, which has a br1ef existence 1n the span

of a s1ngle measure. Also, on the f1ret beat of the second
measure after [17~ , there 1s a oho:rd on the A maJor triad
plu.s F sharp.
 ll
:f>A.Vtl sometimes uaaa the second tone ot the scale
along w1th the e1x\h as a tunot1onal harmony tone. Often,
however, when the aeoond 11 present, 1t 1s used as a melod1o
tone and has no baa1o haraon1o tunct1on.
Tbe chorus ohaat.a t.he second c.tesree ot the soale , E,
at [16~ where t.he central theme ot the kf:UU: jJ, .tJJm.l: ls
repeated tor the laat. t1me before the ~ii!PWII bee-~•. 'l'he
sixth degree, B, ls an integral part ot the bu1o harmony.
Of oou.rse , when the ballet chorus 1s omit ted, as 1n the usual
eymphon1o concert hall performance, this second degree will
not exist and the obord w1ll cona1at only of' \he maJor triad
and the s1xt,h.
E.xample 10.

~~ !t=-f--·;-·- t·=-~=------=~----
--- ·JJ··----
--· - -·-_··--·--
-------
~- ----·- . -
-- •·

1
_:_-- :~=~- -· i ··-:._._t~:;.~ . :_t~-=~---
-- ·- ---. e===
____ -- ---. ------.--- . ..
-- ... - -··-. - _,

.
~ . _. - - . • .. "~~<;-<···~-

An equal!¥ tenuous ex1atence 1s •nJoyed by the maJor

aeoond D sharp appearing 1n the flu.tea over a G sharp maJor
tonal.U,y with added s1xt.h A sharp. (two measuree atter [l'l~U).
In the next measure , u. i.e lo'Nttred to a minor seoond and the
m1nor seventh 1s added to the ohord.
 l ,.,t)

At [1.8~ , the aeoonrl aWAle tone appears Mlone wit.h one

of the 1•are examples of a.n at.tgmented tz•iad on D. This E:U'-

ran~ement lasts tor onlj· r.,wo measures.

Example 17.

At [20~ , \here 1e one meaeure where the maJor second

1s employed, &long with the maJor a1xth, but on the fourth
beat 1t 1s lowered to a m1nor seoond, and 1n the next measare
u. disappears altoget.her.
Example lfl.
 13
-~

The added second and a1xth are used t.oge~her at 192.

ae ~pper and lower ne16hbore t.o t.r1lla 1n the strings. The
ke1 1s B maJor. and o sharp and G abarp are the respective
added tones. Th1s chord forma \be ~on~ tor tour measures
onl.J.
Ih!'. Md1\&QA o.( tc.b.1 loR~ 1e9 t-Al tr.YA
The added fourth degree of the 10ale oooura even leas
trequentl1 than the aeoond.
At [19$] , we t1nd 1t used with an augmented triad,
G• a, .
D sharp, and instead or being a per-teot fourth, 1t 1a
an augmented tounh, 0 aharp. The whole passage moves 1n a
downward ohrout1o pros,rna1on w1th 'the augmented fourth in
the trumpets and horn parts.
F:xample 19.

one measure before [21~ t the triad is o. F sharp •

A sharp, with G sharp as the augment.ed. fourth. This tonallt.J
lasts tor onll one measure before 1t resolves to a full D
maJor chord..
 14
At ~a~ we f1nd an 1ntereat.ing oombinat~on ot t.he
added fourth and a 1xt.h, a aharp and E, added t.o the G sharp
minor triad. Thla sue paaea,se ·1a repeated at [1~ •
The added fourth aeeu to be u1e<l. mostly w1 th the
augmented trlad, bot.h ot them rare, and 1a itself an augmented
interval. This chord formation baa a k1nd ot whole tone
tonality, a tonality rare with Ravel.
qhorJa 2t tat §l!la\11
'l'he next maJor d1v1s1on ot chord atru.ot.ure to be
conaid~red 1a the chord of the seventh. Ravel bas a definite
preterenoe tor the add1t1on ut the m.1nor aeYenth to the triad,
tor, out ot approximate~ f1~y-a1x examples ot the chord at
the sevent.h, tort7•two of tllem tall lnto this class. He has
used only $eYen halt d1m1n1ahed seventh• 1 three maJor
sevenths • one .m1nor•uJor aevent.h, and three altered seventh
chords.
The ttrat passage of an1 sreat len~h containing a
minor aevent.b 1a to be found at [letH where 1t, haa been
added in t.be horM and t.rombonea to an E minor t.ri&d.
Example 00.

. .
 15
At lJ.?~ , there ia an 1nt.erest1ns pasaage 1n suooes-
ei~e maJor-minor seventh onorda moving througb the tollowlng
root.a: E, A, E 1 A, B, an4 0 aharp.
Example 21.

One measure atte~ [17~ , Ravel changee the triad trom

E minor to E aaJor t.w1oe, k.eep1ng, the m1nor aeventh.
Exuple :a a.

At [19~, the m1nor seventh A has been added to a B

maJor triad. The theme 1n the trumpets aooenta the B major
tonality, but the added minor seventh. 1n the lower parts gives
the passage an exo1t1ngly 1ndet1n1te sound.
 16

Tbe minor eeven~h has been uaed by Ravel 1n a very

etteo~1ve w~ 1n the ~heme or the ~h1rd part of the suite,
the MIDI! ll(turaJ.e. It 1s leaped to as an appogiatu.ra trona
the th1rd of t.he ollor4 and reaolvee to anotJler appoggiatura
[2oqj • The t.heme hu the mi.Aor aevent.h tor ~wo measures
onq, and then the paaeage goes on w1t.h the triad alone as
the baa1o harmOftl• Th1a treatment ot the theme 1s round at
[ao1} , [so~ , two aeaaurea before [2l!J , two meaaurea before
[21~ , and at [;asg •
Example 24.

The t1rst and second trombones have the minor seventh

and the root. of a B tlat, D, r. A flat chord to play simul-
taneoueJ.¥ as a maJor second at [~ • On the fifth beat of
 17
the tollow1ng measure, a minor triad on E with the seventh D
ie interpolated as an unresolved appoggiatura chord. On the
tourth beat of the thlrd measure after [@oil , Ravel uses the
unresolved appoggiatura chord aga1n, but this ttme the triad
1s maJor.
Example 26.

'rhere 1s a aeot.1on of some lengt,h at fElllj when the

tonality is D maJor Nlth the minor seventh 0 appearing at
different times 1n different instruments aga1nat a C al~

pedal point. Thla section last a fo:• ti ve measures and has

the secondary theme or the DADI! gtner&Jtl in the violas. At.
[?1~ , the root ot the D maJor ohord leaps to another maJor
triad on G with minor seventh F. At, (?1~ t.he minor seventh
appears as a melody tone.
 18
Ravel has an arrangement of ooneecut1ve maJor-m1nor
seventh chords moving w1th the1r roote a minor third apart,
one measure after @1~ • The root..a pus through the follow-
ing dominant seventh chorda: A flat • r • D• and B, and then
again A tlat, F, D, and B, and tlnal.ly A flat before the C
maJor tonality begins t.wo meuurea atter @1~. It is alao
interesting to note that the instrumental entrances outline
tho d1mln1shed soventh cno•"d on A, C• E flat, .and F sharp
(G flat).
liavel has ua•d the same nev1oe at ~l'l} , but with the
root..s movlng through G, E, c ah&rtl, and B f'la.t. (A sharp).
Other paasas-s containing trlada with m1nor sevenths
can be tound at the following plaoea 1n the score: two meas-
ures after g.a6j , two measures atter ~o!} , one measure before
(}.G!J , one measure atter (!~ • two measures atter ~7~ , tv1o
measures betore (;?'l] to five atter (;'1!1 , two measurea betore
(!a!\ to ~8~ • one meaaure after \}.a~ , two measures before
[1~ 1 three meuurea before [it~ • one measure atter (?~
and at [21'?] •
Triads with added maJor sennt,ha are very rare in
fl!:l!hn&a .1!14 Qb}.ge. The author h&a tound two maJor seventh
ohords inserted between t.he more common minor sevenths at
[la~ . .Both maJor sevenths are added. to a maJor triad, not
a minor one.
 19
Example 26.

There 1a another triad w1th a maJor seventh, c, E,

G, and B, on the f1rat beat or th.e measure t.hree mearau.res
atter l}.so]. This ohord also oontal.na an added a1xth.
The one example or a 1D1nor-ruaJor seventh appears very
br1atly two measures after (?o~ and ola1ma 1ts structure on
the strength ot a solitary B 1n the t.h1r4 t:rwnpet part. The
triad 1s A flat, 0 tlat, E flat. It lasts tor only two beats
Md is loat 1n the upwal"d ohrout1o melod1o ll.ne.
Example 2/1.

There ax~e a few altered chords of the seventh to be

tound in the suite. In t,he meaa\U"e betore lj.g~ on the f1ret
beat ot the meaaure, there 1a a c maJor triad with a raised
fifth and a minor seventh. It laata tor only one beat.
 l,

Example 28.

'.rhe same alteration as atentioned above happens ?lt

~9~ , where the tona.l1t.y lasts for four bea.ts. 'I'he o}lord 1s
G, B, D sharp, F natural. However, th1s passage could be
doubly analyzed. The C aharp pedal could cause this chord to
become the upper four partials of an altered maJor ninth
chord, or 1t could function as a non-harmonic pedal tone.
At ~~ , quite a large section is baaed on the
altered aeventh chord or E flat, G, B, and D. ·rhe fifth 1s
•. the altered tone again, but the seventh is maJor.
'l'here seem t.o be no d1m1n1ehed seventh chords in the
whole composition. There are, however, a tew half-d1m1n1shed
seventh chorda. Five meuures ·an.er (j.?'i) , we have s. half-
d1m1n1shed seventh obord built on E sharp and spelled E sharp,
G sharp, Band D sharp. It lasts for one measure only.
Example 29.
-----------------------------------·,,
21
At two measures betore [1~ , there are two hs.lt-
d1m1n1ahed sevenths appearing toa-ther. The first is c
sharp, E, o, a, and the aeoond 11 D, r, A tlat, and c.
There are other examplea of the halt-diminished
seventh to be round at [1e;ij to B.a{] ,
\vo m.eaaurea att.eJ"
one meaeure before [17~., aDd two meaaures atter @oil •
one at one m.eaaure aner [19~ plqa a more extended role
harmon1oallJ and melod1oall1 ~an the preceding examples.
Qborsts Pt: leAl N.\Jl!dl
One ot Ravel's tavor1te chorda ia the triad with
add~d seventh and ninth. The add1t.1on ot the maJor ninth
predominates 1n Q&Rbnll Jn4 gb•g•: 1n tact, oat ot approx1- ·
mat.ely thirty-one dltterent examples where the chord ot the
ninth is uaed as either a harmonic tone or a melodic tone,
only t1ve are minor nin~.

Their uae 1a a1m1lar to that ot the trlada with added

tones. They may a.ppeaz- u par\ ot the basic harmony or as a
melodic tone onl,y, or aa a ooab1natlon ot both. \1ben the
ninth 1s part of the harmonic atruot.ure • 1t. a.ppeara 1n the
melodic l1ne also. The complete maJor or minor ninth chord
appears more frequently than the 1nt.erval or the ninth ueed
alone in the melody.
One ot the tew doa1nant. aound1ng minor ninth chorda
appears at one measure before ~7~ and holds through only
two measures betore it resolves up a third to a dominant
seventh chord on E. It 1s spelled c sharp, E sharp, G sharp,
B and D.
 22
Example &>.

A\ @1q) , the minor ninth .D appears over a dominant

seventh chord on C •hart> w1 t.h a natural firth. Th1a tonality
oont1nuea tor tive meaaurea. Two other minor ninth chorda
are to be round at [17t} and three meuurea att.er U-7~ •
The t1rst or theae 1a an F aharp, A, c sharp, E and G chord.
The second 1a the aame chord. used as an appoggiatura three
measures att,er (1..7@1 • One measure before Q-6~ , the r1s1ng
sem1-chroma:t1o h&J"mon,;r 1s O&s1oally a minor seventh on E
sharp with a minor ninth F sharp.
Althougn maJor n1nth ohorda are used more frequently,
they appear, uauallJ, tor a few measures or tor a traction ot
a measure, u d1d t.he lid.nor n1nt.h chorda. Ravel always seems
anxious to return to the triad or tho chord of the seventh
for the longer passaa-a.
Four meas~.tree before [j.~ , Ravel moves s1iepw1ae from
one dominant maJor ninth chord to another and baok again.
fhe :t1rst chord 1s built on a sharp with a natural :f1tth, and
the second 1a built on a. These four measures are merely a
repetition of th1a stepwise motion.
 23
Example 31.

Ravel haa plaoed ~he maJor nin~h over a minor triad

on a aharp w1t.h the added minor seventh at. [lei] • Alt.hougb
the D eharp does not aotuallJ continue through the following
two measures, it has entered etronglJ enough 1n the flret
measure that the ettect seems to carey through. 'l'he use of
the ninth 1n the top vo1cee bas given the short melody a
compelling charm. The same structure 11 t-epeated again at
[l9QI.
At l!K>~ , we flad a aaJor triad on E flat. with a
minor seventh and a maJor ninth.
There are two maJor n1nth eborda used as unresolved
appogg1aturae two aeas\.U"ee after [17~ on the second beat or
the measare; and another one aeaaare before [18~ , also on
the second beat of the uaau.re.
An 1ntereet1ng proaresa1on ot ninth and seventh
chords 1e illustrated at [lSQ} and g..a,M • 'rh1s passage •
however, w1ll be discussed more tully 1n Chapter 3 as an
example of parallel1ea.
 24

At. [18~ • there are three ninth chorda grouped

together, all maJor n1nthe.
Example 32.

•rnere are tlJtes when the nl.nth ~t ·i cho;c'd appears 1n

the harmonic structure as a r~sult of horizontal melod1o
f
rfl0t1on. This oocurs at one laeaaure after {!9!} • w1th the F
1n the horns, and 1n t.he next meaeur•• the B 1n the violin
solo.
Example 33·

The £la.Jor n1nt.h r sharp 1s brought in by the atr1ngs,

tlutes and bassoons as a melody note over a m1nor seventh
chard. on E at g.c~ .
 'i'he oboe br>1n.p 1n both tJle m1nor seventh 0 and the
.rlutJor ninth E over a D maJor tr1a4 at. [17Q).
The maJor ninth appears as a. melody tone for one
me&sw·e thx•&e meaeut•ea after Ij..?~ in the flutes, and alBo
at [l'l~.
l'ht rJwt:~l if ltAJ il.I!ID\b
havel ua.ss 'Wle oho.t'd. ot t.he eleventh much lees
frequent.q t.han the ohord or the ninth 1n th1e su1te. 'l'here
are only seven i.n~Jt,anoea ot it to be tound in the whole su1te.
'.d:lell"' u.se tollowa the aaae patt,o~n ot the added tones •
seventh iUl.d ninth chorda, t.llat. ot be1ne, either a. harmonic
~one or a ~lod1o tone •
.i:'he tust exa11ple ot the eleventh ohcu:•d occurs in the
1'1rat. Ate&.sw..e a.ft.er ~b~ at. t.he begi.n.ning ot the au1te.
ContJ•ary ~o the alaaa1o use of the elevent.h. as an appoggia-
tura or a auspenaiou 1n the upper parts, Ravel has th1a
augmented eleventh in the bus part., and 1t 1a approached
ohromat1oall.f t;;•om an A minor tonality. "J:lhe rema1n1ng
 26
members of the chord, c, F;, G, B flat, and D, are to be found
1n the horns or outlined in the clarinets.
Example 3:).

In the next measure, he rett..lrnl to A minor and three

measures after 1).5~ t.he same chord appears again, moving
downward chroma~ioallJ to another eleventh chord on D sharp,
but in this case the eleventh is diminished and the ninth 1s
minor. These two eleven\b chorda are repeated in the next two
measures before ~6~ •
I>;xample 36.
-----------

At three measures after §.?4_], we have a natural

eleventh raised to the augmented eleventh, bo~1 ranctioning
as passing tones in the tou~h horn part. 1
l'he maJor-minor
seventh on D with added maJor ninth provides the tonality.
Example :.57.

The eleventh chord 1s used as an appogglatura, the

eleventh resolving to the third. or a major-minor seventh chord
on D, five measu1•es a:rte:r IJ9<B ,, on the first beat or the meas-
ure, the G flat 1t1 the horns being enharmonic wit.h F sharp.
'lhe ohord 1s a maJor-minor seventh with raised fifth. No ninth
1s present.

1'he elevent.h chord 1s used 1n an appoe;siatura ttrush"

one mEu.tsure attar [17~ , atte:r the second beat..
Other examples of the eleventh chord can be found
two measw•es att.er [16@ , where the eleventh is used as a
pedal tone, four measures after [!~ , where 1t is inserted
between two ninth chords, and at [20~ •
 28
It will be the purpose or the next chapter to d1acuss
Havel's u~te or t.hEt~e ohord. atruot.urea 1n eet.abl1sh1ng a
t<.>na.lit.y Md t.he1r progression w1\hln that tonality.
 The end of the N1netteenth Cent.ur7 and the beg1nn1ng
or the Twent1et.h Oentuey aaw 'ttbe ext.ena1on of musical tonality
in the chromatloiam of Wagner and the Imprese1on1sm of
-Debussy. As a student, Maur1oe Ravel was exposed to the
former and definitely 1ntluenoed by the latter. Debussy and
Havel both used non-clase1cal scales, clear sono:d. tle$, freel)-
related chords of the seventh• ninth, and eleventh, and par-
allel chord progression.
~VIt 4§ Jml£

~rhe 1&!1£ 41. ~. or .ll&.!l.l• 1s Impreas1on1at,1o in

oharacter. H.avel haa succeeded very well 1n br1nt;1ng to the
listener a picture ot the saored wood ot the nympha, the song
or the o1rds, the murmurS,ng of the brook, and finally the
rising of ~· aun, in the t1rat few meaaurea.
l'he seven meaaurea preeedints the entrance or the Dawn
mot1 ve at ~~ lack. a detirdte tonal center • but the first
tour measures could be conceived or as having been taken from
a thirteen~h chord erected on D, the key indicated 1n the
signature. All or t.he tonee in those measures, taken to-
gether, make a D, r aharp, A, c, E, G and B flat chord. one
of the tonal dev1oes of' modern oomposit1on atemm1ng from
Impx-ess1on1sm 1e the exhaust1on of one sound or poes1b111t1es
ot a chord sound before progreso1ng to the next tlhord. ?heae
fl.rat. tour rneasurttB ml.t9l'tt be (H)na1d~re~:l :t'ron1 that v1twpo1nt.
Another tact t.hat tends to oreate a D tonality 1s t,he prom1·
nenoe glven t.o the dominant and median\ tones ot that k.ey in
the melod1o line.
Xhe ohroaat.1o establishment ot a dominant. minor n1nth
chord f1 ve measures aft-er Liofil on D eharp quite naturally
leads to t.he E minor key at [j.5§} • This seot.1on trom ~ot!}
to [laf] l.a essentially 1n the DOrian mode, the theme being
oonatraot.ed or the tones 'E, G, A, B,. f4nd D, 'w1t.h the a.ccom-
pany1ng harmony in E minor. The pedal tone D 1n the basses
and bassoon serve• the dual purpose ot being the minor
seventh of the ohord and foreshadowing the D maJor key.
At [1e!J , t.he E minor triad becomes the aupertonic
triad in the key of D raaJor, and the lat. tex• tonality 1a fully
established. However, b_y omitting the at.tbdom1nant and the

leading tone degrees ot t.he scale in both the melody and the
harmony, Just five \ones have been used, making 1t pentatonic
in oharaot.er.
The ton1o progreasea t.o the doml.nant minor E, t!, and
E a.t [15~ • The shepherd • s theu1e, taken by the piccolo, is
in the Dorian mode on A. Two raeasures lat.er the superton1o
E minor entere and remal.na as the main tonality, with the
exception of a single meaau.re ot the aubmedlant tr1afl, until
[l6Q} • Here, a G sharp minor triad • in thi:r·d relationship,
continues as the oent.ral tonality to almost two measures
 31
before [16~ , in spite of the addition ot the lower part.1ale
ot E a harp (one measure atter [16Ql ) and C sharp (three
measures after \!.6q} ) •
Four measures atter l).sQ} , t-he h&rmo.ny 1s oonatruoted
by chorda or the seven~ And n1n\h mov1ng with ~heir roots
a second or a third apart., w1t,h no apparent key relation ,
until [16~ • where the tonic D maJor ap1n appears.
Bxample 39.

At (!.6~ • the triad on t.he lowered leading tone

appears , C, li;, and (}, and with the reappearance of the super-
tonic two measures later. Havel eetabl1shes a tonal ambiguity
between them. This tonal ambiguity between two related lteys
is another Impress1on1st1o device.

409873
 32
Example 40.

The E minor tonality w1na out, however. one measure

betore ~6~ , and at. [16J} the root is raised and a minor
seventh is added. These alterations last. up to D.e~ , ;.vhere
they are canceled, and the auperton1o in 1t.e original form
w1th added minor seventh oont.1nuea as the harmony to U-6~ •
At this place, the eupert.on1c resolves downward a step to
the tonto D maJor.
To consider \he tonality of the L•I!£ ~ ~ rrom
a broad viewpoint, one oan ass that. 1t. is basically D maJor
with modulations to the aupertonic, E minor. The themes
are Dorian 1n mode• except when harmonized in the D maJor key,
where they take on the oharacteriat.1oa or the pentatonic
scale. The important root movements w1th1n the two keys or
D maJor and E minor have been limited 'to approximately seven
progressions ot a second, tour ot a third, and four of a
fourth or f1fth. The root movements ot non-related chords
outs1de of these two keys have not been considered. Most of
t.he triads involved have either a sevent.h, ninth. or eleventh
chord structure or an added tone struot,ure. Very rarely
does the triad appear in 1ta pure torm.
I~vel also made use ot two Imprees1oniet1o dev1oes;
tonal amb1gu1t.J between two ltefl • and the tull explo1tat1on
ot one chord sou.nd.
The trane1t1on between ~e Lgvtr i l ~ and the
fan~2m111 11 bitonal 1n character and will be d1soussed 1n
Chapter III. It oocure in t.he eoore from [17~ to [11§ •
f.antq11U
The fM\9!!1U E.?@ begins 1n o sh&rJ> minor wh1oh
becomes the dominant, att.er the third ia raised, of F sharp
minor at 1].7~ • The section between ~7~ and ~7~, like
the transition between the LIY!E j l ~and the Ptntom~ml,

1a bitonal and will be examined later.

At (].?til we find tb.e beginning ot quite a long
paaeage 1lluatrat1n& chord exploitation. The t.r1ad, F sharp,
A, and c sharp, hu the added m1nor a1xt,h D wh1oh 1e altered
to D sharp s1x aeaau.rea later. Two meaeurea before [1.17] ,
it rises to E and forma a minor seventh chord. At {17i} , the
minor ninth G 1e added. For the following four measures, the
mino:r sevent-h chord appears (the two lower tones being oorwuon
to the preceding oho:rd) • and Ravel 1nterohanges G sharp and
G nataral, t.hus obscuring and elongating the tonality still
further.
Example 41· •

Five mea.aurea atter [17t} , the root and seventh are

raised ('E sharp 1 G sharp 1 B and D sharp) , and in the seventh

measure the ninth, eleventh, and thirteenth p~1als are

added.
Example 42·

From there on. • vte t1nd t.be tollow1ng chords: A sharp ,

0 , E, and G; A sharp , 0 ahan>, E and G sharp: C , E flat , G,
B flat and D; and finally A flat, C, E flat, G flat. B flat
and D· All of t;he chorda are btU"mon1o der1vat1:vea tx·om the
chord preceding thea and are derived either chromat1oally or
by common tone. All of' these progressions have been the
harmonic accompaniment to a flute solo in the Dorian roode,
extending trow 1!7!) to g.7~ •
 The key ot F &harp maJor establishes itself at ~7~
and continues t.o ~aQ].
At [laQ] we t1nd the t1ra\ example of parallelism,
which ls produced by the repe\1t.1on ot common ohords in
a1111lar 110t-1on. It. 1e a style explo1t.ed ttllly by t.he Impres-
sionist. s , al \hough they are not t.he sole employers of 1t.
The ohords oan be parallel 1n s\ruoture as a .resu.lt or
identical chord structure, or parallel in sound as a result
ot repetition ot mixed chord structure. navel has used this
latter type here. It is a downward progression ua1ng mixed
seventh and ninth chords on euocesaive beats ot the measure
- 't:ot\e,
tor two measures. The resultant. scale is whole~in sound
(G, A, B, a sharp, D sharp, and E sharp), with G sharp, A
sharp, F sharp and E appearing as pus ins tones.
Example 43.

'!'he parallel oonstruot1on continues, but is altered

in ita effect by change ot register. The same device illus-
trated by these two examples, 43 and 44, ia repeated at [La~.
 36

'.

At {1ag} 1 the aubdominant triad of the key of 13

maJor 1 as given in tJle aJ.gna.tu.re at ~7~ 1 acts as an
anchor among non-related seventh• ninth• and eleventh
chorda until ~8~ • Here an au~nted triad on n natural
appears from a stepwise reaolut1on or the subdom1nant maJor
triad and oarr1ea on to [18!) • Here 1a another seot1on
based on auooess1ve dom1nan~ seventh chorda parallel in
sound • but not 1n atruotu:re.
ltxample 46.
 'Sl

At ~a!] , the eubdom1nant. triad 1s still the pre-

dominating tonality and from ~etJ to [;a~ the ohorda pro~ss
from the aubdom1nant to the eupe:rtoal.o, to the .mediant ( oon-
s1der1ng E tlat. enbarmonlo with D sharp), whioh reaolvea to
the aubmed1ant [18~ • Three meaaurea later, the t.on1o B maJor
triad comes 1n and is altered three measures att.er lj.iQ) to
B flat, D natural, F natural (implied), and a minor seventh
A tlat.. The alterations are canceled at {!9@1 , and the tonto
tonal1t1 oont.inuea t.o I;~ •
At [1.9~, the key s1gna:ture changes to A maJor and. the
E tlat, G, :s, and D ohord becomes an altered dominant in that
key. (19i)
r:xuple 46.

One measure ~er {19~ , the altered triad on the

med1ant.. become a t.he basic harmony ( C sharp, E, G, and B) , and

with the addition of a n~Jor ninth and a minor elevent.h at

U.~ forms another example ot ex.plo1tat1on ot sound. The C
sharp and E gradually dissolve, leaving the G, B, D sharp, and
F to beoome the ba.s1o tonality at one measure before Ll9i].
 At ~~ , there ie a downward passage wholly chro-
matic 1n construot1on, but stemming from the whole-tone chord
ot G, a, c eharp, and D aharp.
Example 47.

..-. - --
~~J.t _.,_+- -~ -~ .~~·~!.A~ i:t. !I I
10
, -
. 1:. • ~"11
~ t(
-~~ ?!I 'J!; I
II-
'-l:J
-~

_._. -. · f - -f-· ~- ITli

-ff ·""~·
'
..
I

. .r4f .,~
~\7.

":
- r
,.... -

.. ..
E
I

_.___

.f-
~--

.
.,
-?
A
- I

The G, B, c sharp and n sharp chord 1e repeated again

two measures atter ~9~ 1n the trumpets, before the modula-

tion into the J2AWII iiD.I£111• The whole section trom g_g~
to [19!} might be oon.atde~ttd the transition to the J2a:W!I
Q!neraJ.t, s1noe 1te t.hemea toreehadow the- ma1n theme ot the
third and last part. ot the SU.1te.
To aummar1.ze the tonal quality ot the f~OiWJ!, one
oan 183 t.hat the three central keys were r sharp m1nor , B
maJor, and A maJor. However, due to several extended. seotlona,
where the ayatem was b1\onal, and the frequent uee ot non-
related chorda, these tonalities were often blurred. While
1n the key of F sharp minor • the chorda moat often used were
those on the dominant., t.he eubm.edi.ant. • and the tr1a.d on the
lowered seventh, bes1doa, pt oourse 1 t.he tonic. ~bile 1n the
key of B maJor, the t-on1o and G\1perton1c wcu:-e the ohOl'"da moat
often uaed. While 1n the k.ey of A maJo1~, the altered
•
dom1nan~. the altered med1ant and altered tr1ad on the lowered
leading tone, figured moet prominently. Strangely enough, the
ton1o A maJor doesn't appear until the ~ARII ~D!£1~1·

The important root movements, 1n places where a defi-

nite ke7 was felt, numbered approximately twenty tor those of
a aeoond, ten for those of a th1rd, three tor those of a
fourth or tltt.h, and one of a d1m1n1ahed fourth [j.9~ •
Three Impreaa1on1at1o devices were used; parallelism,
explo1tat1on ot aoun4, and a reference to the whole-tone
scale.
J2!\QI! GenoriJ,e
1'he Qanlt 9!AirAl! (19~ beg.S.ns on the tonic A maJor
triad w1t.h ra1eed root and f1tth, making it an A sharp m1nor
sound. In t.he followJ.ng meaauree, the m1no:r seventh, G sharp,
appears ln the theme, . and the G m1nor triad 1e approached and
left ohrou.t1oall.y. (~oo]

Example 48.

In t.he four meaauree preoedlng [20~ , the triads of

B maJor, C minor, A maJor, D major, A minor, and F sharp m1nor
 40
appear 1n the same pattern as above, approached and lett
e1ther as appoggiaturas or obromaticallJ• Th1s paaeage leads
baolt again to the A ebarp minor k.e7 at. WO@l , in spite ot the
wide ranse ot keJ• covered.
Exaaaple 49.

The A sharp minor sound continues u.p t.o &a~ • where

the root and t1t'th are lowered to become the A major triad
which continues until [~ , -..,here Ravel modulates to o major.
At [ool!] the superton1c triad appears and ita root and t1.tth
are lowered [20§1 , and 1t becomes the dominant of a ma.Jor-
m1.nor sevent.h on E flat at We!/ , wh10h, 1n turn, 'becomes the
dominant of A flat minor at [20~ • While in this key , we

find a maJor-minor seventh on E approached and lett 1n chro-

matic motion three meaaures aftrer [20!] •
 41

Example oo.

---

Five measures before [21Q] t.he A flat minor ohord

becomes e~oa1o w1th a minor seventh chord on G sharp 1n
another downward proc;ress1ng ohromat.1o passap leading to a
c sharp maJor tr1ad w1\h lowered t1tt.h at. [?1Q] • Thus • we
see that Ravel hae Qaed a auooess1on ot dominants, each ot
them resolving to a ton1o seventh, which, 1n turn. becomes
another dominant. He has progressed this w~ from B flat
maJor to E flat maJor, t.o A flat minor ( G sharp m1nor), to an
altered c sharp maJor, between [00~ and ~lQJ • 'l'h1s last
chord, taking a t1rst olass function, leads to the dominant
seventh on D at. (21~ • and we have another series ot almost
lihe same .kind ot progreee1one. At [21~ the dominant on D
resolves to a dominant on G. The root, fifth and seventh
 42

beins ra1eed two measures after [?1a] • the dominant. on G

sharp reeolveQ to the dominant. on D s~ (a skip ot a fifth
Ln this oase) wh1oh, 1n turn. resolvea to the dominant on
·' en arp at [21~ ( another tlt1p ot a t1tt.h) • From [?10] to
[2lt!} , there 1s a aerlee ot ch.orde 1n t.he th1rd relationship
resolving f1nall1 on the D maJor t.on&llt.J at 216 •
'.i'he eeot.iona tollowt.ng lf&l~ and ~1~ have already
been diaoueaed 1n the t1rst chapter under t.he anal.l'sis of
seventh ohorda.
Three measures after ~17], a maJor-minor seventh on
~he leading tone appears and dominates the tonality to one
measure before nal~ . where we find the whole t-one scale
example disouased in Chapter I. (See Example o.)
I'
The A sharp minor tonality becomes en.hannon1o ¥v1th

the B flat, minor tonality tour measures after ~00] , and at

~2~ the latter resolves downward a half-step to the tonic
A maJor to torm the final cadence.
In conclusion, the oaaio ~onality of the Pinlt
General! centers around A maJor, w,ith the important modula-
tions being in the ke7e relat,ed by halt-steps, A flat minor
and A sharp m1nor. Ravel also made use ot the su.bdominant.
triad and a·tr1ad on the lowered mediant degree of the scale.
The whole section is extremely ohromatio 1n nature, but. at
all t1mes these bas1o keys maintain a strong hold on the
tonality.
 43

The main root prosreas1onst outside or non-related

chords, total f1fieen 1n progreas1one or the second, five 1n
progressions ot the third, and aeven 1n progressions ot the
tou.rt.h or tl:fth.
Ravel baa made quite extena1ve use of parallelism 1n
th1e section of the Suite and a definite use of the whole
tone aoale as a result of one ot these parallel progressions.
He has also made use or auooess1ve doa1nant and subdom1nant
resolutions to a ton1o, wh1oh, 1n turn, becomes another
dominant or subdom1nant resolving to another tonic chord.
During the course of tbe lAD¥AI~It 1 the 5u1te grad-
uall.J' loaee the modal qaal1ty est.abl1shed 1n the IttDr ,as
~· By the tille the l2anli Y:taotelr• appears • l.t 1s com-
pletelJ sone, and 1netead a det1n1te tonality of maJor and
slightly lees of m1nor 1a eatablisbed, and that tonality
oont1nu.es to the end..
 44

Chapter III
!ianipulat1on of Uta.t.er1al

This chapter will be devot,ed to the technical means

by which Maurice Ravel bound various chord structures to-
gether within a ~onality and to the d1tterent devices he used
to lend color and interest to the oompos1t1on. The discussion
will center around the topics of modulation, dissonance.
bitonality, pedal tones, and melody. Since there are no
actual cadences; except the final cadence • the 11w-;>11ed cadences
and the lnt.erlock.lAg of sections will be d.1sou.seed along 'Jtith
modulations.
t.~ggul§t iQWl

In J&R.Anltl .tWl gijl,g; • Ravel employs l.M usual ruethods

of modulation, those of common chord, common tone, direct
modulation, chromatic progression, and sequence.
At [lo'iJ , ~1e f1nd the E minor tonl.c tonality taking a
second class f'unction and resolving down a step to D maJor 1n
a common chord modulation. I
The doml.nant has been omitted,
makint;:; an uelide4" cadence • a common oadent.ial device of modern
composers. 'l'he same progression 1s repeated at [16~ •

Exa.mp le 51.
 46
Cadence el1a1on 1e fUrther emphae1aed by the scarcity
of authentic V to I progNsaS.ona. At (17~ , and 1n the pre-
ceding meaaure, there 1a a domlnan' seventh on C sharp resolv-
ing t.o an r shaz'p minor ton1o. one measure be:fore [19~ , a
dominant t.rlad on r sharp w1t.h a lowered f1tth resolves to
the tonic B maJor. A 4om1nan\ ninth chord on E flat w1th
raised t1tt,h provides an enharmonic resolution to G sharp
minor one measure before [l8~ •
Example 62.

---=$:=- -:
-
-. ·----·---
'::1
-

Modulations by ooqmon tone are much more cownon than

those by common chord. Two measures atter fj.7Q/ , we :find the
upper part 1als G flat t E f'lat. and B na\ of a dominant n1nth
chord on A flat beooalng enb.a.rmon1o common tones to an F sharp
maJor triad with added e1xth.
Example o3.
 46
A J.aOd.Ulat.1on in the tb1rd relat.1onah1p between a m1nor
aeventh on 0 abarp and a maJor eeventb on E natural occurs at
one meaaure before ~8~ • Three of the ohord tones are common
( 'E, G sharp, and. B) and blUr the expeot,ed change of sound.
Example M

Another such modnlat1on 1n the third relat1onah1p

w1 th a coDon enb.anaonio tone oome• one meuure be tore [183] •
The ohorda involved are a mtnor seventh on A sharp and a
maJor ninth on G natural.
Example oo.

The oommon ~onea G and B form the br1dge tor the key
ch.an.ge at [19~ • ·rne t1rst chord 1a a maJor seventh on !<'!

flat w1th raised t1t\h, and \he second 18 a halt-d1m1n1ahed

ohord on 0 aharp.
 47
Example aa.

Other oommon tone modUlations oan be found at the

tollow1ng nwabers 1n the acore: one measure be tore [16'il ;
two measures botore [laQl ; one measure betoJ"e Q_gq} ; and one
nuttasure before [~ •
r~vel haa used a few d1reot modUlations 1n Daubn1!
.fJ,W\ QQl££1• At ~6~ • we t1nd. a maJor triad on a natural,
directly following a D maJor ton.l1ty. HoweYer, the t1fth
of D maJor 1a held over to become an added sixth in a nmJor
and softens the d1reotneee ot the change.
F;xample f.ll.

One measure before g.91) , Ravel hae gone direotl,y

from B maJor to the maJor aevent.h chord on E flat with raised
f1tth. However, B remains ae oommon tone and E flat as a
;\

48
common enharmon1o tone.

Anotther example of direct modUlation ooours from f}..90]

to four measures att,er [l~ • The chords involved are a. (J.

sharp minor chord and a B flat 1oaJor ohord with added minor
seventh.
Chromatic modulation is found quite otten, not only
as a means to oha4ge k.e7e, but. ott.en t.o avoid a resolution to
the tonic. one meaaure befox•e [l6i\ • a minor seventh chord
on D sharp is the established tonal1t,y. Instead ot resolving
to G sharp, it drop& a half•art.ep to the tnaJor triad on D
natural with added six'h·
E:xample 69.
 49
Two meaauree betore ~a~ , a modulation from a domi-
nant soundlng ninth chord on G to a maJor-minor seventh chord
on E 1a etteot.ed b7 a progression of ohromat1oall7 linked
seventh chorde.
Exaraple 60.

'l'wo measures before ~9!.} , we have an augmented triad

on G with an added tone, C sharp, aa the bae1o tonality. By
means ot a ohromatio passage in th1rda, in the trumpets, the
tonality 1a lowered to B tlat minor, 1natead ot a natural
reaolut1on to a maJor. Tb1e 1a reall.Y another example ot an
elided oadenoe, since the B flat \r1ad changes enbarmon1oally
to A sharp .m1nor, the t,on1o tonality or the Dlnfil ,ttenttlrl!
[l9i{.
Example 61.

·--'ft-"'1·'---· =- -----
~
 50
Example 61 (Continued)

The t1nal cadence ot D&Qbn6a ADA nQlQI 1e alao

approached ohromat 1oallJ'. 'l'be A &harp minor triad at [2~ ,
enharmonic w1tb the B tlat minor triad two measures later,
reaolvea down step-w1ae to A maJor at [22~ • leaving the
listener ;v1th a feeling that, it. has no~ been pr>operly
resolved.
Other ohroma.t1o modulations way be tound one measure
before [oo~ , one measure before ~, and one measure
before [20~ •

Gathering together the material on modulation, we

discover that Ravel baa used the oomaon tone method eight
tlmes, ohromat1o1am sevem tlmea, and the coumton chord r11ethod
only tw1oe. When be haa modulated dlreotly, ~e ettect has
been somewhat null1t1ed b7 one or two unJ.mportant. tones
common either naturally or enhanaon1oally. These comparisons •
ot course, are drawn between seot1ona ot det1n11ie k.ey feeling
and not between non-related chords.
sequential bus prosreaalona ton». a minor method of
modulation. Those progreaa1ona have already been discussed
 51
in the chapter on Tonality and occur in the score in the
section from [oot) to [214].
Ravel has d1apla,ed two more modern devices of com-
position; cadence elision and avoidance ot the tonic ohord.
}211§0!)MOI
It is quite possible to tind a~ least one or more ot
the more common types ot non-harmonic tones on any page ot
DAphn&a s Chloe. One type of dissonance is rare in the
Suite, and ~hat 1a the suspension. The Author has been able
to find only one example, and that oo~rs in the seoond violins
three measures after g.9~ , with a H natural resolv.tng dO\vn to
A sharp, the root. ot a chord spelled A sharp, c sharp, and E
sharp. Analyzed doubly, lt could easiq be called a minor
ninth. At the same place and in the violin solo, we find a
delayed resolution of the neighboring tone note, P sharp.
Example 62.

Passing tones are naturally quite common. At ~o~ , we

find a concise example or passing tones in the melodic fabric.
,. . he eleventh of the chord on E flat appears as an accented
passing tone and ~esolves 1mmed1ately to a chord tone.
 b2

r~vel uses upper and lpwer neighboring tones tre-

quent.J.y, bot.h aelod1oa.lly and harmon1oallJ· One measure
after 1}.7~ , we f1nd a oomplet.e ohord uaed u a lo\ver· neigh-
boring tone.
EXB.Ui.plo 64.

.J r .,;.._. ii""
;, -:ff•-
• •1----- ••
f
l'\
-v -
-n.; ~ ...
~~----·

.,g..
"" .
I
---
/ - -
-
-v -
-

1'he ne1ghbor1ng t.one and passing tones used as chords

figure quite promtnen~lJ in the harmon1o structure of ~he

Jian.l' !;i!!Qer&J.I• It.a tl.rat. appe.wanoe 1a one measure after

[19@.
Example 66.

In t.he t,wo measures tollowlng [16~ , we t1nd the use

ot a ohangill&-note figure and the t.h1rt.eenth or the chord as
an appoggiatura reaolvlng to the f1fih.
Example 66.

'l'he more 1nt.erea\1ng and unusual dissonances used by

Ravel tall 1nto the olaases ot the escape tone and the maJor
and minor second. The eeoape tone is illustrated ver,y well
as a melodJ tone one meaau.re before (oo§l • The themes 1n
the .:Qtruut .Ci!nt£141 are ext.reme 11 ch.romat ic, and the escape
tone 1e quite common throusnout.
 o4

Example G'?.

Otten the escape tones will, in t.hel!laelvea, form a

ohord ( rour mel~.etu•ee after Q.a~ )• rrhe same pattern occurs

tour meaaux-ee aft.ez• [l9Q\ •

At [173] , th.(t escape chord 1s used in a 'b1t.oruil pass-

age, disguising the tonalit,y still further.
 Another example or the escape chord can be found one
measure att.er Q.a4D •
Ravel alao likes ~o add the maJor or minor in~erval

ot a second to one of the three members of a triad or to a

melodic line. The first example of a melodic line in seconds
occurs one measure after [l?i} and one measure before [17~ •
Example ?0.

A downward progressing chromatic passage at [}.98] has

maJor seconds and, inverted, minor sevenths, added to the
melodic 11m~. 'l'hle arrangement continues for two measures.
Example 71.

..,.. .
 66
'l'he seoonds appearing 1n the trumpets one measure
after [aoil are ohord tones • but they produce a dissonant
etfeot.
Two measures after ~7~ , we find a dissonant C sharp
used against a C natural 1n the horns. The dissonant note is
added to the seventh of the chord.
r~xample 72.

At ~7~ , we find both a C natural and a D natural

added to an F sharp minor triad.
F:xamp le 7:3.

One meas\.U'"e before [16~ , we find an A natural 1n the

horns functioning as a dissonance to the third of a minor
seventh chord on E sharp. Also, 1n the first a.nd second meas-
ures after [20?] , a G sharp appears against a minor seventh
 o7
chord on E, another dissonance ot the third.
most ot the ord1nar.1 disso-
nances in D~Pbn~ aa4 Qb1Qt 1 with the exception of auapenaiona,
and antioipat1ona, both ot which are oonspicu.oua by their
absence. He favors escape torute, however, and often uses them
as Chorda. He also tavora the addition ot a second to the
true melodic tones, or to ohord meml>era. The chord tones
which have had aeoon4e added \o \hea in Juxtaposition have
been the third, titth, and seventh. In the section devoted
to pedal t.onea, it w111 be touad t.hat the root may also have
the second added to it.. All t.he seoondl added to harmony
tones have been minor. Those added to melod1o passages have
been maJor.
fAtgJ11l1\z
There are several sections 1.n ABi1 Qhl.Qt which
l'.l~Mo•l

merit oloae attent1on because of the1r bitonal character. one

ot the more oouon •a:r• to approach b1tonal1t1 is to establish
an ambiguity between two keys. Two measures atter [162] , a
minor triad on E is euper1mposed in the horns on an ex1st1ng
tonality ot o maJor. on the aeoond beat. of the measure, the
0 maJor tr1ad appears 1n t,he horns. On t.he t1rst beat ot the
next measure t E minor appeare as,aJ.n. 'l~he tonality 1s further
blurred by an A 1n the buaea and bassoons.
 56

Another l1ke example oo~s 1n the fourth and fifth

measures after [16~ , where the two keys involved are E minor
and G maJor.
The 1nterohang1ng of the maJor and m1nor third of a
chord also has an obliterating effect on a key. This can be
found one measure aner ~7'iJ , an example already quoted 1n
the first chapter on Choz•d Structure.
At [21~ , we find an int-erestinG situation of over-
lapping keys. The theme, given here to the flutes and oboe,
obviously belongs to the preceding measure (which is in D
maJor with a raised fifth), since its principal construction
1s based on t.he leap from the third of the chord to the minor
or maJor seventhr out the harmon, underneath it has changed
to G minor.
Example 'lo.
- -----~----------. -- - · - -- ·--~--~--
 Another nBthod of obtaining a bitonal effect 1s the
simultaneous use of a set k.ey and its upper or lower neigh-
boring tone triad. This ia illustrated six measures after
[20~ , where the horns nave an A minor triad against the

existing tonality ot A flat minor. This same device exists

three measures atter ~9~ , where the two triads involved are
an F sharp maJor triad and a G minor triad.
From [17Q\ to [17~ , there is an extensive section
•Nhlch is bitonal in nature. It beginS on a. minor seventh
chord on D v1ith an added maJor nl.nth. The D maJor tonality
is the existing key, and the upper two partials appe~ in the
oboe and continue with the 1ns1atence or a pedal. In the
second and fifth measures atter (?.7QJ , a minor seventh n flat
is added, but the F sharp in the oboe and a :f'ull F she.1..p
maJor chord 1n those respective me·asures oanoel its effect.
'l.'he original root of' the chord • P. disappeared at [1?0] • T~'iO

rueasures after lj.7iJ only two members of the C m.aJor chord

ami one of the D zna.Jor ohord relllB.1n, and tht')se carry over to
[112]. He:t"e the x•oot and. fifth or the c major triad are
z'aised, and the F sharp oarr1es thl"ough as a. pedal with tivo
lo\ver partials, B and D, appearing briefly 1n the melody. At
[11~], both k.eya ot C maJor and B m1no.t• appear together. 'l'wo
measures later, the root, third and fifth of the C maJor
triad are raised, and these two chords of C sharp maJor and
H minor continue t.hrough t.o two measures att..tn• [17~ • Il.lring
this tl.rae, the thirds of both chords are raised and lowered
 60

interchangeably. 1'wlo measures after ~7<4\] , a maJor-minor

seventh chord on D appears as an ~lpoggiatura and carries

through one more measure before a minor seventh chord on E
takes its place, along with G sharp maJor, 1n the measure
before [}.7~ • 'l'he progress1o11. ot seoond.s in the melody one
men.eure after ~7~ and one measure before ~?ti} , as •vell as
the c s!'lal"p 1n the horns two measures after [i.14] , have al-
ready been mentioned 1n the section on Dissonance.
Another very short example of b1tonal1ty oan be found
four measures after (].9~ , where a.n F sharp minor tr1e.d and
a c ~aJor triad (the C being implied and appearing in the
•:uelody) appear together, more as a result or melodic movement
than anything else. They both resolve to B maJor at 1].9~ ,
one ohromat1oally • the other by a.n a.uthent1o V to I x•esolu-
t1on.
1'hus, >'H3 see that P.avel luul used several approaches
to bitonal1ty, as well as the pure to1,-a of b1tona11ty itself.
~rhe t'irst olass would include the fluctuation between two
main keys, horizontal melodic movement, the sounding together
of true chords and their ne 1ghbo:r•1ng tone chords , and the
interchange or the raised and lowered third. 'l'he use of
pedal tones and added dissonant lntervals also serve to ruake
tonality more obscure.
Pedil Ionoa
In 12!Mn1.s .1D4 Qbloe • Havel has employed. the altered
first and fifth, fourth, sixth, and seventh degrees of the
 61
scale as pedal tones, or as pedal f1~res. The maJority of
pedal tones have appeared 1n the bass sections of the orches-
tra, rather than 1n the h1gber-vo1ced instruments in inverted
form.
At [1a~ , Ravel has a pedal tone, G, 1n the violas
and horns, used as a sort or p1 vot among changing chord com-
binations. The G 1a consonant, however, to all the ohords
with the exception ot the one on the second beat of the meas-
ure and on the t1rat beat or the measure before ~8~ •
C sharp is the consonant root of the chord at [21<2] ,
out becomes a maJor eeventh when the tonality changes to a
1najor-minor seventh chord on D at [21!} • It carries through
to ~l.tij witJl a ma.Jor-mi.nor seventh on G ~lgi , a G sharp
minor triad and a D sharp minor triad appear!~~ as dissonant
chords.
At [17~ , the ton1o and dominant of t.he F sharp minor
triad are used as pedal tones in a recurrent rhythmic nattern
in the oontrabasses. 'l~his continues tor twenty r.tea.eures
under a ch&ngl.ng harmony.
Havel uses a pedal tone 1n J2!.£1bn11 !Y1Sl QbJ.O! in approx-
imately seventeen separate situations where the initial added
pedal tone is dissonant to the ohord 1n which 1t appears, in-
stead of beginning on a consonance and becoming dissonant with
the harmony following 1t. Out or these seventeen separate sit-
tlationa, the :fourth 1s found three times, the seventh four
t1mes, an altered root three times. an altered fifth twice, the
sixth once, and the eleventh once. The interval of the third,
 62
a tavor1te with some modern oompose.rs, is not found at all.
At [20~ , the triad on C maJor is established. as the
tonality and the augmented fourth, F sharp, appears in the
basses as a pedal tone. It continues up to [20~ , ~vhere it
becomes the fifth of a minor triad on s.
Example 76.

= ~ a ~
1:>.1 . . . . . . . . . +- ._ ~.:;;.... ,4- ........... -41- {
• •
.
·~ --
~

.,..
---------~~------------· ...

Another example of the augmented fourth used as a

pedal tone can be found at ~ ~ It lasts for one measure
only. 'l'wo meaauree after Q.s~ , a perfect fourth 1e used as
a pedal tone.
At [21~ , the minor seventh has been used along with
the perfect fourth 1n a pedal pattern. The triad 1s a maJor
triad on c, and B and F sharp are the respective pedal tones.
ti'hese two tones aid in veiling the tonality, because of the1r

relationship to B InaJor, the lower neighboring triad.

Example 77.
 63
The seventh ls used ln conJunction with an eleventh
at ~6j , where the basic tonality 1s E minor. The D and A
of the pedal tones, as 1n the above example, outline the D
maJor chord and have the etteot ot blUrring the tonality.
At [193] and [1o!} , the seventh 11 used alone as a
pedal tone in the oontrabassee, baseoona, and base clarinets.
The root ot a minor seventh chord on G with a raised
fifth appears at [197] and carries through. tor four measures
in the bassoons and double basses again. The maJor-minor
seventh ohord on G sharp, appearing on the last beat of the
first two measures, prov1dea the dissonant element •
. Example '18.

The root and fifth ot the lower neighboring tone

triad on A maJor are used as pedal tones against the A sharp
minor key of the ItiDI! Q:lnet:~&l! ~9~ • 'l'his oont inues unt 11
[20~. At [22QJ , we have precisely the same situation
lasting for four measures. Obviously, theJ hint at bitonal-
ity, or, at least, one or the approaches to bitonality.
From [21~ to [21fil • an E natural provides a disso-
nant pedal point. Ita beg1nn1ng interval relationship is
 64
that of a. lowered t1:tt.h of a mlnor triad on A sharp w1th
added m1nor seventh.
Example 79.

J.J. .-H!

_..... .... "" ·-

~~ ~ .. ~t: ~ ~t ~ ~t:,~~~ro ~~
~ ~~ ~~4 ~~
"'"~-4 ~~ It
.... , .
'*~:t ~

:
. " ...... .-.
...
""''·
,
..J
.II. . .. -• ""
-- f-- -.F---:_· \--------
-
~

.,.. t-----
-

At [184] , t.he minor sixth C of a maJor-m1nOl' seventh

chord on E 1a the recurring note, with an F nat. ural appear-
ing two measures later but soon reeolv1ng to o. These two
notes again outline a neighboring tone triad, but raaJor 1n
mode, rather than minor.
Evidently, Ravel has employed pedal tones on all
degrees of the scale, with the exoept1on of the second, and
w1tb the pl"esenoe ot ot.her added tones in the harmonic fabric •
suoh as the sixth and the seventh. Also, with the uee of
pedal tones, Havel reveals another method of achieving the
I~pressior~st1c ideal of tonal obscurity.
 65

Havel's melodies in the ttexe£ 5ll ~ are simple and

reserved 1r1. nature. The phrases are short and often frtl.gmen-
tary.
The exposition of the theme of t.he LIXIt 41, Joqr [1~
:r•eveale a smooth and extremely short. phrase • 'Rh1oh is repeated
exactly three ~ius and 1s Dorian in tonality.
r~xample so .
r
_ij,..
\j
1"1
-..;,;,;

-~f-;
~~ ...
- ....
""'
'~·
-~
-;,;.·.

,.......
~
!
-~ •
7
T
""'
j,{

-
At [lu?] , it is varied slightly in rhJthm, but the
basic melodic skips are still the fourth and fifth. ri'he

Dorian tonality [lt>~ seems to become part or and is absorbed

by the pentatonic tonality of D maJor plus an added sixth.

Example Sl •.

_.¥ Iii- •
7-.:
or~
.. .,
--
---
.--------
(

I
...~·
4100..
.• -~
•• ,....
 66
A sl1gbt. developiAent. occurs at [15@ , and the interval
sk1p of a third becomes more prominent.
Example 82.

At [J..b!J , the piccolo has a highly florid phrase ,

slightly more than,. a measure 1n len&th, and also ln the Dorian
tona.lity. Agel1n, at [).6Q] , tfe have a Dorian fragment given
to the clarinet. The first or these 1s inserted 1n a pause
between phrases of the main .melodic stream, and the second 1s
superimposed over a rising chromatic eoale-l1ne.
At [ls;) , the development as found at [loSJ is
repeated. So far, the largest melodic ~i1p has been that ot
a fifth.
A secondary theme appears at [lG~ and beg1n.s on a
skip of a maJor s1xt.h trom B down to D, wh1oh functions as a
sort of pedal against t.he ohromat1o .melodl•
Example 83.

d.
.. ,...,
~
v
•

~
I u. ..-
'
~~':r ~' ·-:r
-L
&:::1"
7

I -;--11 ....
.M".

•
-- --
I
,;-f-.
~;"':tt·~
~,

--

" . '~--' -· ·~- ... .... ., .......-

-
 6'7

'fh1s secondary thetae i.a only announced and left • how-

ever, tor at {1.6~ t.he main theme, aign1ty1ng the reJoining

or Daphnia and Chloe • ent,era and cont. 1nues to the trans it. ion
seot.ion at [l.?q} • The transition theme is made up of a third,
t1ft.h, and e. maJor sixth, a.nd appears 1n conJunction with
reumanta ot the main theme of the first. section 111 the clar1-
net.e.
Example 84.
-~

-."1
.t
-v
-
"II--
71: a

·- --·--- ~-----------"··-·-~-----·--1;2 -t:

{ -
More binding 1n nature than the transition theme
itself 1s a melodio pattern in the oboe, ~vh1ch :.u;sumes tho
role of a pedal figure and lasts for seven measures.
Example So.
-AI

. ,.
_j_

v
I
" I I II
..:.-.,..
I

This same theme 1s taken up in augmentation by the

clarinet three mea&llres before [l7g} •
 68
'I'he PMlt9.iiW [17~ , ns J.t,s tltla suggests • reflacts
directly the iAOVements or the dancers. It ls a section com-
posed ot both very short. trag:aente linked together and s
longer solo aeot1on tor the flute. There is at the bet;ln-
nJ.ng a aort, of introduction, or" background, furnished. by t.he
oboes and E:ngl1sh horn and built in triads and seventh chords.

Example 86.

,.._
u
11.-'
•·
•
. ~

-..;.;;: ."':'
• • f<"
! -
~T-
..,
• "''::Ioo" I"
y
-. . --- f'

•
..aLL~""···

The two central themes are those of Daphnia, pant.o-

mitning the role of t.he god l,an, and Chloe t.ha role of syrinx,
the nymph. '!'he theme or Pan [l7ru features the leaps of a
maJor slxtJl. &nd, lik.e most of Ravel 1 s themes, 1s a small frag-
ment repeated to form a phrase. It appears again one measure
after [175_} • but in an t-Altered torm, with the largest leap
being that of a fifth.
Example 87.
........
~ i
•
• •
-
lot

~ ~·-,.,..... i~· :~~

I
I
I
.. i:111#- ....,--.. 1:1+ i

7
,, - """
IT
- ' ··-
•
1..-
r
J.oil
lA

.""'!!1
. -- =fi=· :~
 69
Syrinx's ~heme 1s lees bold in oharao~er, bu~ does
contain two consecutive skips ot a maJor fourth. It is
repeated, not completely, in the following measure by the
flute and, two measures later, 1n its ent1rety 1 b,y ~he clari-
net. The latter part of the theme ie echoed by the English
horn and violins one measure before [17~ •
Example 88.

The continuity of this section 1s ~interrupted by

appo&>1atura "rush" chords, which afford a contrast to the

flowing melodic line of the I&!!t _sa i2!1£.•
The nex~ theme of impo~ance is plqed by the flute
and represents Syrinx dancing to Pan's accompaniment, two
measures after ~7~ • The melody is higbly florid, but con-
tains no ak1ps of more than a minor sixth. It is in the
.
Dorian mode. and continUes to g.rl~ • From }}.79] ~o ~a~ the
theme breaks down into rapid soa.le-11k.e passages of tvw
octaves and figures built on a fourth skip s~per1mposed on
chroinatioally-moving harmony.
 70

As the dance grows more animated, the t.hema.t1c mater-

ial changes t.o a short. staccato 1"1gure with upper and lower
neighboring tone , wbich oeasea at [18~ •
Example 89.

At. [1~ • there is another quick. oh.ange of mood from

extreme animation to languor. 'I'he theme 1s oomposed ohietly
of the triad tones ot E minor, with an 1nterval akip of a
maJor sixth &t"lpearing as t.he largest melody skip. The inter-
vals are ezubellished by an oct.ave leap.
Example 90.

.;. ~•. u.. ... rl '"'.....

: :;::::: /•~

-
~.

611fT u.;.·
T '

--
1117-
..... J...-
\~

' ~
q.~- lit-
,, ,.

The piooolo and two flutes have another rapid scale

~a~ • almost glissando in etteot. covering a range of four
oct,avea and. terminating in e. return of the rna1n theme as
found at, lis~ • ·rwo measures att.er [laS] , it is repeated 1n
 71
the flute • and at [ia~ and ~9QJ 1t 1s scored for full orches-
tra 1n a mov1ng cll.mB.x. At ~9iB , 1t appears for the last

time.
1~he Syr1nx theme agal.n appear• at. [j.9~ as a sort ot
bridge to [193], where Daphnia Wdtea oath of h1e constant love.
'I'he theme, tlung out by the trumpets, is extremely expressive,
ln that it combines all the seriousness o.f the oooaa1on with
the sacredness of the aot. Its oonstruotion in octaves and 1n
a fanfare-type reythm would represent the former, and the
strong tinge ot modality 1n the theme 1tselt would represent
the latter.
Example 91.

---,
r
.JJ,_;/{ IIIIo. I
- {t

..
- ·-- ....
n. '
T::l
~· • • • ~- ~ "; --,;;. .q • ';: I

,, rt i.!}~ -#A' ~< ~~I-%- ' '

11 ~· ...J"'
I

~
1 T

Beton tJle ll&nll &l!DftJ!Al!, we have another short

theme at [i9~ depiot1ng the Jox of the dancers. It co1n-
c1des oloselJ with the established rhythm 1n 1ts use of tr1p..
lets. It uses the melody skips of a minor sixth, maJor
second, and perteot fourth.. It 1a brought 1n again at [21Q7 ,
[ SljJ , [21q]_ , and [?l~] •
 72

---,..

i'he main theme of the dance appears at [roo] • It

uses a skip from the third of the tr1ad to the minor seventh,
a skip of a perfect tourth. and a aeries of tive chromatic
notes. It reappears at [20~ , ~2] , ~11] • [21~ • three
roeast1res aftei' [216] , three measures after [217] • and at
[:.:;aq).
Exrunple 93.

The series of tour chromatic notes found in the main

theme furnish the pa'ttt.ern for the development material, which
appears intermittently throughout. the rer.1ainder of the dance

and begins two :neasures after [00~ •

 73
Example 94.

At [oo~ and ~~ • there are brief reminders of' the

secondary theme , a.s found at kt.&~ , beginning 1n the 1nt erval
ot a maJor sixth and falling chromatically to a perfect fourth
with the G a mel0d1o pivot note. It is augmented to four
Qeasures 1n length, rather than the original two measures.
txample 9o.

With the appearance or Dorcon, country bumpkin and

Chloe • s admJ.rer, at [2otil and f?o'?J • we have· a new type of
t.lleme bllilt 1n mino.t• seconds, w1th the exception or the lut
three notes.
 74
_Example 96.

If

In summary, ¥¥e f1nd t.hat ha.vel 1 s melodic atru.ctures

are compact. and small 1n range. His phrase a are seldom
organic l.n natur·e, but. are more ot't..en constructed of a five
or six note fragment repeated and resulting in a mosaic
pattern. 'l'he periods are also built in the same way; by
exs.ot repetition of the plwase, though sometimes 1t is
altered sl1gb~ly.

'l'he 1nt.erval of the a1xth is the largest melodic

leap havel usea, although octaves are sometimes used as orna-
mentation.
An analysis ot the intervals used in ~he central
themes reveals that the second is used alxty-one times, the
th1rd nineteen t1mes, the fourth eighteen times, t.he fifth
i'ourteen times, and t,he sixth ten times. rrhe extreme Pl"'e-
dominanoe of the second aooounts for the a.moothness and
reservation of melodic line wh1oh 1s found in most of the
themes. This same effect is accented by the frequent, uae
or scales and chromaticism.
 76

The harmonic fabric or Ravel's ~bail Jn4 QblQI

consists basically of ~be maJor and minor triad, and chords
of the seventh, nintJl, and eleventh. Aug,mented and d1m1n-
1shed triads do not appear alone, but only 1n the oompar11
of added tones and more aa a result ot horigontal motion
than or vert1oal structure. Nearl)" tour-t1tt.hs of the
seventh chords made use of the minor seventh interval. The
remaining fifth 1noludes the maJor seventh, balf-d1m1n1shed,
and altered chords of the seventh. Vihen t.he chord of the
ninth is used. it appears five-sixths of the time in its
maJor torm and one-sixth of the tlme in 1ts minor form. In
both the seventh and ninth chords , the domi.na.nt structure
was favored. The eleventh chord appears as a melodic or
harmonic structure only seven t1mes 1n the whole Suite.
Ravel favors the addition ot the sixth scale tone
to the triad, rather t.han the second and. , least of all, the
fourth. Ihese tones are used either as part of the basic
harmony or as melodic tones only. il'hen :round in the harmony,
however, they appear as melodic tones also.
Ravel revealed h1a fondness tor modal sounds with the
use of the Dorian mode 1n several themes , and particularly 1n
\
the freqUent flute cadenzas. The modal quality v;as also
 76

heightened trequentl1 by the use of the minor dominant. With

the addition of the second and sixth scale intervals to
several ·of the important harmonic passages in t.he Lever .rut
.J:.QlU! and the PMltQAAP\1 • the pentatonic scale also became an
important t.onal1tJ• 'l'he whole-tone scale appeared. only in a
series of parallel chord progress1ona. The maJor and minor
trlads and chordal structure& shared almoat equally in the
formation of the tonality. Because ot the close relation 1n
sound ot a mod.al tonality and a pentatonic tonality, the two
'f'Fere often round 1n conJunction.
·.';there related chord structures were visible, the root
movement of a second was by tar the most prominent , •.vi th the
movement by third next. prominent, and the movement by fourth
or fifth the least prominent.
Al~ough Ravel very seldom makes· use of the whole-
tone scale, he does employ other Impress1onlst1e devices. He
~Yill establish tonal ambiguity by a oont1nuous sounding of a
maJor triad with 1ts relative minor, or vice versa, by the
fluctuation 1n sound prodUced by the sounding together of a
true chord with a ne1ghbor1ng-tone ohord, or by the use of
pedal tones in tJle bass or inner parts. He has also estab-
lished true bltonality with the slmUltaneous appearance of
two different keys. However, these keys were not more than
a second or a th1rd apart.
Other Impresa1on1st1o devices found were parallel
motion of chords and the tull exploitation of one chord sound.
Both of these are etfeot1ve ways of producing a vague tonalU
and harmon1o color •.
Where det1n1te modulat.1ona were d1soern1ble, the
common tone method was employed more frequently than any other,
but ~t1tll the chromatic method a very close eecond. Common
chord and d1reot modulations were used very rarely, a.s vrere
sequential base pros,ress1ona. Cadence elision and avoidance
of the tonic ohord were two more modern devices found in the
section concerning modulation.
Passlng tones, appoggi.atura• Md escape tones formed
a definite part of havel 1 s use of disson&noe. r!'he more inter-
esting dlsaonanoes centered. around the escape tone used as a
oho.rd, nnd the addlt1on of minor seoonda to e.n established
harmony t or maJor seoonds to a melodic line.
other dissonances appeared as pedal tones or pedal
figUres. The scale intervale used as pedals were the altered
root and fifths, the fourth, the s1.xth,, and the seventh. The
second as a pedal tone did not appear. .Pedal tones were also
used in the pr&~Jence of other a.ddctd intervals in the harmonic
structure, chietly the sixth arid. seventh.
H.a.vel'e melodies are composed 1n oono1se form, are
eutall 1n rane;e and aimple in style. Phrases tiU"e often con-
structed by t,he mere repetition of fraf911ents. !'he interval
of the eeoond predominated in the melodic line, \Vith the
interval of the maJor sixth being the largest melodic skip
represented. The Suite is completely homophonic, '<¥1th no
 78

contrapuntal dev1oes employed. In nrautu.t•l AD4 Qb'Q! t Ravel has

skilfully combined the elements ot t.b$ claee1o style w·i th the
color and twaglnat1on of Impressionism. It repres•nt8 the peak
of elaboration 1n his st.yle, tor 1n the :rollow1r~g yeru:•s he
emphasized simpl1c1t.y and crystal-like olar1ty in his oompo-
slt1ons.
 79

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Casella., Alfredo• lll! &;!qls,uJ(.\QD rtt lilllli£2• London: J. and
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Miller, Horace. l!.IJI! llirmWl~ Jl!VJ:Q«?.I• New York: Oliver
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 90
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