Harmony and Modes

Firstly, let us start off with a harmonic analysis of Assez vif et bien rythme’. Composed of 177 bars, the harmonically complex movement split into four sections.

According to the written key signatures, the harmonic structure is as such:

• From bars 1-53, G major is introduced as the tonic key.
• Modulation to the diminished 5th of Db major occurs from bars 54-123.
• Modulation to the supertonic minor of A minor occurs from bars 124-147.
• Finally, we return to the home key of G major from bars 148-177.

On the other hand, modes used in the Gamelan Gong Kebyar are placed in stark contrast with completely structured harmonies of Western music. Derived from five notes of a seven-tone scale, the pelog selisir is the mode used by gamelan ensembles of this style. It is notated as its onomatopoeic sounds - nding ndong ndeng ndung ndang. This scale is essentially the pentatonic scale with two extra pitches external to the mode, known as pamero pitches.

While no one set of instrumental pitching between one gamelan ensemble and the next is the same, the intervals between every instrument in each gamelan remain the same. The intervals are formed by semitones, whole tones and minor 3rds. In Hudan Mas (Golden Rain), the approximate Western pitching consists of the following notes, with an audio clip provided:

[ E F#^ G# A B C# D^]

Yet, while Debussy uses the Western form of key notation, we must take note that he does not allow himself to be restricted by them. For example, from bars 54-123, the key signature is theoretically marked as Eb major, but many accidentals are used, relaxing the strict tonal constraints on the harmony. Also, because Db and Gb frequently appear in the section, it sounds like Db major.

Bars 80-82: Use of many accidentals

Besides that, an overall adherence to fixed harmonic progression is not present throughout the entire piece. Debussy makes use of the whole tone scale and the Phrygian mode, often encasing these in unexpected modulations. With the incorporation of so many harmonic devices, Debussy cleanly imitates the irregularity of harmony found in Balinese gamelan, while still maintaining harmonic unity.