Tonal Infiltration and Directional Tonality in Debussy’s Syrinx

1. Introduction: Debussy and Tonality

Debussy’s style ingenuously incorporates several compositional strategies from

the end of the nineteenth century and beginning of the twentieth century. His unorthodox

harmonic language combines middleground aspects of the romantic tradition with coloristic

modern tendencies. This musical plurality has long been the subject of much discussion in the

theoretical field and has stimulated the use of many different analytical approaches to his

music. While a generalization about the most suitable approach is not possible and probably

undesirable, research has established that much of Debussy’s music is best explained by tonal

theory.1 Despite Debussy’s preference for a highly embellished music surface, his large-scale

harmonic structure is often defined by transformations of traditional tonal models.

Schenkerian theory appears to be the most accurate analytical tool to capture this

practice. It not only illustrates the underlying architectural tonal plan, but also establishes a

connection with the past, comparing Debussy’s use of tonality with standardized prototypes.

It is important to emphasize, however, that, in order to better represent the harmonic

transformations introduced by Debussy’s music, most analysts have adapted the theory

according to their own needs: Adele Katz avoids any alterations to the system and reserves

the use of Schenkerian theory for only a few pieces that follow strict Schenkerian paradigms.

She then suggests the need for development of a new analytical technique, one that could

1
For examples of tonal approaches to Debussy’s music, see Matthew Brown, “Tonality and Form in
Debussy's "Prélude à 'L'Après-midi d'un faune," Music Theory Spectrum 15 (1993): 127-143; Adele Katz,
“Debussy,” in Challenge to Musical Tradition: A New Concept of Tonality (New York: Knopf, 1946), 248-293;
Mark DeVoto, Debussy and the Veil of Tonality: Essays on his Music (Hillsdale: Pendragon Press, 2004); Boyd
Pomeroy, “Tales of Two Tonics: Directional Tonality in Debussy’s Orchestral Music,” Music Theory Spectrum
26 (2004): 87-118; idem, “Debussy’s Tonality: A Formal Perspective,” in The Cambridge Companion to
Debussy, edited by Simon Trezise, (Cambridge: Cambridge University Press, 2003), 155-178.
explicate Debussy’s expanded tonal excursions.2 Felix Salzer, on the other hand, diminishes

the distinction between consonance and dissonance and generates the Ursatz from a I-II-I

progression.3 The approaches taken in recent articles seem to be situated in between Katz and

Salzer’s works. For example, Boyd Pomeroy utilizes Schenkerian theory to demonstrate how

Debussy’s use of tonality differs from the norm.4 Mathew Brown is more concerned with the

philosophical conception of Schenkerian theory. According to him, “the model can help us

determine, case by case, how and why partially, or even marginally, tonal pieces sometimes

sound tonal and sometimes do not.”5

In this paper, Schenkerian theory is used to illustrate a unique case of directional

tonality. The concept, often associated with the nineteenth-century repertoire, has been

applied to Debussy's music by Boyd Pomeroy. In an article published in 2004, Pomeroy

examines the directional process in two orchestral pieces of Debussy and illustrates how the

composer transforms nineteenth-century models through the technique of “tonal infiltration.”6

According to him, “although [Debussy's] tonally directional frameworks are rooted in

nineteenth-century precedents, their compositional realization tends to subvert or

problematize such traditional aspects in uniquely twentieth-century ways.”7 Based on

Pomeroy’s interpretation of the directional process, I demonstrate how the technique of “tonal

infiltration” also affects the harmonic discourse of Debussy’s Syrinx, generating an

unconventional case of directional tonality.

2
See Katz, “Debussy,” 248-293.
3
Felix Salzer, Structural Hearing: Tonal Coherence in Music (New York: C. Boni, 1952), 2:252-253.
4
See Pomeroy, “Tales of Two Tonics,” 87-118; idem, “Debussy’s Tonality,” 155-178.
5
Brown, “Tonality and Form,” 130.
6
Pomeroy, “Tales of Two Tonics,” 87-118.
7
Ibid, 115.
 2. Syrinx

a. Background

Despite its widespread reputation as one of the primary concert pieces for solo

flute, Syrinx was first conceived as part of a scene of Gabriel Mourey’s dramatic poem,

Psyché. The piece was intended to be performed during the first scene of Act III and, as

Mourey stated in an article published in 1921, represented “the last melody Pan plays before

his death.”8 The interaction between text and music was crucial to the scene and, as we will

see below, highly influential for Debussy’s compositional choices.

A substantial analytical literature has been devoted to Syrinx. The piece’s

importance for the flute repertoire as well as its unconventional harmonic language have

inspired a variety of approaches, which we might characterize as comparative, dynamic and

bifocal. As an example of the first category, Carol Baron draws a parallel between Debussy’s

Syrinx and Varese’s Density 21.5, explaining Varese’s piece through structurally significant

elements of Debussy’s work. Her analysis focuses on intervallic patterns, melodic contour,

and the use of the whole-tone scale.9 Richard Parks, in the other hand, takes a dynamic

approach. According to him, his “study focuses upon the fluid nature of musical materials and

relations.”10 Based on the interaction of components such as durations of formal units,

harmonic materials, repetitions, durations between attack points, melodic contour, and register

span, he defines the form of the piece and sheds light on Debussy’s “counterpoint of

8
Gabriel Mourey, “Memories of Claude Debussy,” Musical News and Herald (1921): 747.
9
See Karol Baron, “Varese’s Explication of Debussy’s ‘Syrinx’ in ‘Density 21.5’ and an Analysis of
Varese’s composition: A Secret Model Revealed,” The Music Review 43 (1982): 121-134.
10
Richard Parks, “Music’s Inner Dance: Form, Pacing and Complexity in Debussy’s Music,” in The
Cambridge Companion to Debussy, edited by Simon Trezise, (Cambridge: Cambridge University Press, 2003),
197.
changes.”11 The third category explains the pitch content of Syrinx as derived from two

distinct entities and is, therefore, the most relevant here. In Sonic Design, Robert Cogan and

Pozzi Escot focus on the piece’s intervallic content, motivic cells and non-diatonic

collections, and propose a linguistic reading that unfolds Bb and Db as the primary pitch

centers.12 Similarly, Laurel Ewell conceives the tonal organization of Syrinx as “a double-

tonic complex of Bb/Db.”13 For her, each pitch functions as the “root” of a different whole-

tone scale (WT1 and WT2). A similar approach can be found in Baron’s article mentioned

above.14

Thus, as observed, Syrinx has been examined from several perspectives. With the

exception of a few inclusions of transformational and prolongational concepts, most

approaches are based on post-tonal theory and its application to basic musical elements. The

bifocal view taken by Ewell, Baron, and Cogan and Escot, resembles the approach proposed

here; however it misinterprets the double tonic complex featured in the piece. The four

analysts emphasize the interaction between whole-tone scales and define the pitch content of

the piece as a dialogue between Bb and Db. This reading underplays the role of tonality and

distorts the function of Db in the piece. This paper will analyze Syrinx as an example of

directional tonality in which Gb major constantly infiltrates the key of Bb minor, eventually

taking control of the piece’s harmonic structure. Db will, therefore, be conceived as the

11
Ibid, 230
12
Robert Cogan and Pozzi Escot, Sonic design: The Nature of Sound and Music (Englewood Cliffs:
Prentice Hall, 1976), 92-101.
13
Laurel Ewell, “A Symbolist Melodrama: The Confluence of Poem and Music in Debussy’s La Flûte
de Pan” (DMA diss., West Virginia University, 2004), 29.
14
For similar bifocal approaches to Syrinx, see Karol Baron, “Varese’s Explication of Debussy’s
‘Syrinx,’” 121-134; Ernestine Whitman, “Analysis and Performance Critique of Debussy’s Flute Works” (DMA
diss., University of Wisconsin-Madison, 1977), 68-79; Julia Larson, “Flute Without Accompaniment: Works
From Debussy: ‘Syrinx’ (1913) to Varese: ‘Density 21.5’ (1936)” (DMA diss., University of Maryland Collage
Park, 1990), 1-15.
dominant of Gb and neither the generator of a whole-tone scale nor the piece’s “ultimate

concluding goal.”15

b. Formal aspects

Debussy’s music has long been perceived as singularly problematic for formal

analysis. While some of his compositions conform to traditional models and can, therefore, be

explained through classical forms, others require less conventional approaches.16 Syrinx

provides us with an example of the latter category and, despite its apparent strophic design, is

better explained as a rotational structure. The rotational concept was coined by James

Hepokoski and has been largely applied to sonata form.17 The temporal process is described

in Sonata Theory as “structures that extend through musical space by recycling one or more

times – with appropriate alternations or adjustments – a referential thematic pattern

established as an ordered succession at the piece’s outset.”18

Syrinx comprises three complete rotations, each of which is composed of two

modules. Module A defines the beginning of each cycle; it is marked by the opening

arabesque (example 1) and the static key of Bb minor. Module B introduces harmonic motion

and is characterized by the tonal infiltration of Gb major. Rotation 1 (mm. 1 – 8) is dominated

by the arabesque module and presents only a very brief infiltration of Gb. In rotation 2 (mm. 9

– 25), the Gb-major module interrupts the development of the opening theme and quickly

15
Cogan and Escot, Sonic design, 93.
16
For an organic approach, see Richard Parks, “Music’s Inner Dance,” 197-231; For a rotational
approach, see James Hepokoski, “Clouds and Circles: Rotational Form in Debussy’s Nuages,” Dutch Journal of
Music Theory 15 (2010): 1-17; For a moment form approach, see Marianne Wheeldon, “Interpreting
Discontinuity in the Late Works of Debussy,” Current Musicology 77 (2004): 92-115.
17
See James Hepokoski, and Warren Darcy, Elements of Sonata Theory: Norms, Types, and
Deformations in the Late-Eighteenth-Century Sonata (New York: Oxford University Press, 2006), 16-18.
18
Ibid, 611.
becomes the protagonist. The last rotation (mm. 25 – 35) brings back the arabesque theme,

now however under the control of the Gb infiltration.

Example 1: Arabesque theme

c. Analysis

The arabesque theme marks the onset of Rotation 1 (example 2) and establishes

the key of Bb minor. The theme consists of two main elements: a descending scale which

outlines the sixth Bb-Db, and a complete neighbor motion Bb-C-Bb, which confirms the

emphasis on Bb. The minor scale is embellished by an E natural, which introduces a whole-

tone flavor to the descent. The neighbor motion in measure 2 is filled in with Cb, a pitch that

will eventually play an important role in the piece. The arabesque theme is restated in

measure 3, but now with a different ending. The arrival on Bb in measure 4 initiates a third

ascent that again stresses the interval Bb-Db. Cb, respelled as B natural, functions again as a

chromatic passing tone and is now emphasized by a short caesura. At first, measure 5 seems

to be a simple restatement of the just-heard third ascent; however, after the repetition of the

first gesture, Debussy introduces a Db-minor seventh chord, which resolves to Cb major.

Example 2: Rotation 1 (1 – 8) – Opening theme (mm. 1) / Infiltration 1 (mm. 5)

 The ii7-I motion mirrors the cadence in Cb major in Debussy’s La Fille aux

Cheveux de Lin, (mm. 15 – 16) and could therefore be conceived as an “aural image” of it

(example 3).19 Comparing the two passages, one notices that the pitches of the right hand of

the piano are exactly the same as those used in Syrinx. In addition, both cadences are marked

by the “plagal leading-tone” resolution, a 6^ – ^8 motion that substitutes for the standard ^7 – 8^ in

passages based on the pentatonic collection.20 In La Fille, Cb major functions as a pivot

between the keys of Gb major (I) and Eb major (VI). In Syrinx, the cadence represents the

first tonal infiltration, foreshadowing the key of Gb major. Thus, the aural image acts as a

psychological link between the key of the prelude and the key that dominates the latter

portion of Syrinx.

Example 3: Aural image - La fille aux cheveux de lin and Syrinx

After ascending to its third scale degree, Eb, Cb major collapses back into Bb,

ending the piece’s first cycle. Rotation 1 thus prolongs Bb through the large-scale neighbor

motion Bb-Cb-Bb. It is important to emphasize that the significance of Cb gradually increases

19
DeVoto, Debussy and the Veil of Tonality, 24.
20
According to Jeremy Day-O’Connell, “in the absence of the leading tone, scale degree 6 assumes
special prominence and stands in a ‘stepwise’ relationship to the tonic in addition to its straightforward classical
role as the upper adjacency to 5.” Jeremy Day-O’Connell, “Debussy, Pentatonicism, and the Tonal Tradition,”
Music Theory Spectrum 31 (2009): 235. For more on the plagal leading-tone, see Ibid., 235-261.
through the passage. In addition, its chromatic relation to the main key hints at the key of Gb

major, injecting uncertainty into the piece’s harmonic plan.

The return of the arabesque theme in measure 9 confirms the initial Bb-minor

hegemony and marks the beginning of Rotation 2 (example 4). However, the theme’s terminal

descent is reversed in measure 10, resulting in a much stronger infiltration. The new material

arpeggiates a Gb major chord, clearly defining the new key and explaining the function of Cb

in Rotation 1. Despite Gb’s newfound advantage, the large tonal center of Bb still does not

allow its complete affirmation. The emphasis on the tritone A-Eb in measure 13, as well as

the spelling, creates the impression of a fully-diminished-seventh chord on A that should

resolve to Bb minor, viio7 – i. But, the chord instead turns out to function as an applied

dominant to V of Gb major. After prolonging the diminished-seventh chord for two measures,

Eb finally resolves to Db which, through a b6/4 arpeggiation, mixes the fatalism of the minor

tonic with the “illusory” major key of Gb. After four consecutive reiterations of the dominant

(mm. 16 – 19), the V chord moves to ii, which, without difficulty, leads to I in measure 21.

Despite the literal absence of the pitch Gb, the repeated emphasis on its dominant as well as

the use of a ii-I motion, which mirrors the cadence in Cb major in Rotation 1, confirms the

arrival of Gb as tonic. However, the larger influence of Bb destabilizes Gb, denying its

complete affirmation. Gb major is then prolonged by a b6/4 neighbor motion, which

continues to stress the third of the chord. In measure 23, Bb manages to free itself from the

“illusory” major key and, as in a desperate attempt to regain control of the piece, assertively

arpeggiates a Bb minor triad.

The opening theme returns in measure 25. However, because of the extended

emphasis on Gb major in Rotation 2, it is now infiltrated, unfolding a I-V motion in the key of

Gb. In Rotation 3 (example 5), modules A and B are, therefore, superimposed. There is now a

complete interaction between the arabesque theme and the tonal infiltration of Gb. The
caesuras before each restatement of the theme accentuate the dominant of Gb; nevertheless,

they do not allow its expected resolution. The arrival at the dominant in measure 31 seems to

bring an end to the battle between the two keys. The whole-tone scale outlines an altered V7

chord, which, despite strongly suggesting the key of Gb major, never achieves its final goal.

Example 4: Rotation 2 (mm. 9 – 25) – Opening theme (mm. 9) / Infiltration 2 (mm. 10)

Example 5: Rotation 3 (25-35) – Opening theme (mm. 25) / Infiltration 3 (mm. 25)

d. Directional tonality and tonal infiltration

The process of directional tonality in Syrinx unfolds in a rather unorthodox

fashion. Despite conforming to the familiar descending-third type, it contradicts the usual
nineteenth-century model in which the initial primary tone 3^ eventually becomes ^5 over the

final tonic, being then affirmed by a fifth descent. Bb minor’s lack of direction introduces

complications to the work’s tonal plan, which ultimately do not allow the major key to

succeed in establishing itself as the structural goal.

The extended emphasis on the pitch Bb at the beginning of the piece not only

defines the key of Bb minor but also establishes the note as the piece’s primary tone, 8^,

initially prolonged by arpeggiations of the tonic chord. The “aural image” in measure 5

promises the key of Gb major and generates harmonic movement. The return of Bb in

measure 8, however, interrupts the infiltration and, as observed above, forestalls the arrival of

the suggested key, retrospectively defining Cb as a neighbor-tone (example 2). After the

restatement of the arabesque theme, the next infiltration (mm. 9 – 25) finally introduces Gb

major as a real tonal presence in the piece (example 4). At this point, 8^ (Bb) is, for the first

time, reinterpreted as ^.3 in Gb. The new key prolongs Bb through a large-scale motion into an

inner voice in which ^.3 , first chromatically transformed into b3^. over Vb6/4, moves to ^2 with

the arrival of ii, finally resolving to an implied 1^ in measure 21. With the arpeggiation of Bb

minor in measures 23 and 24, Bb is heard as ^8 for the last time. The primary tone Bb is again

reinterpreted with the onset of Rotation 3 (example 5). Before moving to the dominant in

measure 31, this section extends the tonic by a constant I-V alternation, through the repetition

of the now Gb-infiltrated arabesque theme. The potential final descent is suppressed by the

emphasis on the dominant’s chordal seventh as well as its augmented quality. Despite the

absence of a Gb major chord at the end of the piece, the emphasis on its dominant might

stimulate the listener to supply an imaginary resolution to I. However, the correct resolution

of the chordal seventh (Cb-Bb) would of course result in the return of 3^..
 Thus, Syrinx should be structurally regarded as non-goal-directed. The piece

prolongs the initial primary tone through contrapuntal techniques and does not contain a final

closure. Nevertheless, the impression of a lack of direction is largely due to the static nature

of the key of Bb minor. While Gb major generates motion in attempting to establish itself as

the piece’s main key, Bb minor holds it back by the constant pull of the melodic centricity to

its tonic note, even during infiltrated sections. Acknowledging Bb minor’s remarkable quality

of harmonic inactivity, the piece’s initial primary tone of ^8 should, perhaps, be retrospectively

conceived as 1^. Unlike ^3 or 8^ , implying continuation in a direct descent, ^1 does not imply

motion to a final goal; it circles around itself without goal-direction.

Syrinx provides an illustration of an unusual kind of descending-third directional

tonality in which an initial primary tone of 1^ becomes 3^ in the third-related key. However,

because of Bb minor’s lack of motion as well as its influence on the major key of Gb, the

expected final descent ^3 - 2^ -1^ is never achieved.

e. Text and music

Letters between the French composer and the dramalist Gabriel Mourey as well as

annotations on the manuscripts, evince Debussy’s preoccupation with the interaction of the

two main elements of Act III, scene 1 of Psyché, music and text.21 This relation has been

examined by Laura Ewell; based on symbolist concepts, she provides a detailed analysis of

the poem, which is then related to Debussy’s compositional strategies.22

21
For an example of a letter from Debussy to Mourey concerning the music and text, see Anders
Ljungar-Chapelon, La Flûte de Pan ou Syrinx pour flûte seule(1913) (Malmö: Autographus Musicus, 1991): p.
2. For information on manuscripts, see Ewell, “A Symbolist Melodrama,” 1-7.
22
See Ibid, 8-76.
 The scene takes place in Pan’s grotto. A naiade, or river nymph, comes to the cave

in the evening and develops a dialogue with an oreade, or mountain nymph. As Ewell points

out, “the naiade is fearful but the oreade encourages her to listen to the sound of Pan’s flute,

assuring her that when she does she will no longer be afraid.”23 The naiade is eventually

seduced by the song and surrenders herself without fear. Ewell then suggests a parallel

between Schopenhauer’s dualistic interpretation of Psyché, which is comprised of two

opposing entities, conscious and subconscious, and the symbolist psychological

transformations of the naiade. She concludes by observing that the shift in the naiade’s

narration, in which allusions to darkness, fear and imprisonment are substituted by those of

light, happiness and freedom, represents the nymph’s conscious state of mind being

dominated by an attractive and unavoidable subconscious will.

By assigning different roles to the keys of Bb minor and Gb major Debussy

establishes a straightforward correspondence between the naiade’s psychological battle and

the tonal architecture of the music: Bb minor represents the nymph’s consciousness which,

flooded with fear, encapsulates her feelings and wills. The mental state is illustrated in the

music by a continuous absence of harmonic motion and the use of an altered Bb-minor scale.

Gb major, in the other hand, functions as the subconscious will and provides the nymph with

freedom and joy through goal-directed infiltrations (example 6). Based on this interpretation,

we could argue that the tonal scheme of the piece follows the poem in its gradual domination

by the seductive freedom of the key of Gb major. In Rotation 3, the subconscious will takes

control of the piece’s psychological battle; however, the absence of a final resolution does not

allow it to fully materialize.

23
Ibid, 12.
 Conscious#state# Dualist# Subconscious#state#
##6#Fear# interpreta0on#of# ###6#Freedom#
##6#Darkness# Gabriel# ###6#Light##
##6#Imprisonment## Mourey’s#Psyche' ###6#Happiness##

Bb#minor# Gb#major#
# #

##Harmonically#sta0c# Contras0ng# ##Harmonically#ac0ve#

##Circles#around#Bb# func0onal#and# ##Goal#directed#
##Non6goal#directed# expressive#role##

Example 6: Relation between Gabriel Mourey’s text and the expressive role played by each key in Syrinx

3. Conclusion

This study has explored Debussy’s use of directional tonality and tonal infiltration

in Syrinx. The procedures not only define the harmonic structure of the piece, but also reflect

the extra-musical content originally associated with it. Syrinx’s ambiguous tonal plan and lack

of structural resolution have often led analysts to problematic conclusions. Through the lens

of Schenkerian theory and by a close examination of Debussy’s compositional tactics, this

paper has attempted to clarify these questions.

As we have seen, Syrinx’s form is shaped by the ordered recurrence of alternating

modules. The temporal arrangement is best explained as three complete rotations comprised

of two basic elements: the arabesque theme and the Gb-major infiltration. The framework of

the directional process is rooted in nineteenth-century models; however its realization is

strongly influenced by the expressive role assigned to each key. The static character of Bb

minor suggests a reinterpretation of the initial primary tone in which 8^ becomes ^1. The

preference for 1^ is confirmed by the poem and the imprisoned feeling generated by the

naiade’s fearful consciousness. The arrival of Gb major introduces the freedom of renewed
motion, transforming ^1 into 3^. Looking for resolution, the goal-directed ^3 introduces

harmonic motion and attempts to bring formal resolution, setting up Gb-major's structural

dominant. But just as the subconscious will could not become true, the final resolution is

never achieved. In addition, the augmented quality of the dominant chord as well as the

emphasis on its chordal seventh suggests an implied return to 3^. While the process of

directional tonality unfolds a clear motion from Bb minor to Gb major, the absence of a final

descent suggests that the fundamental line is still being influenced by the consciousness of the

minor key.

It seems clear that the tonal infiltration process has profound consequences for

Syrinx’s harmonic structure, form and rhetorical aspects, inviting hermeneutic interpretation.

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