But it is in harmony that his methods re-
veal their motives most clearly, and obtain
their most striking results. Here, again, the
principle seems to be subordination of musi-
cal significance to sensuous charm. This may
best be demonstrated by illustration.
The first two pages are introductory. Over
a pedal point on low C sharp, the incisive
rhythm of the habanera, a well-known Span-
ish dance, is suggested. A fragment of folk-
melody, characterized by the peculiar scale
interval of the sharpened fourth-step (B sharp
in this case), which we discussed in connec-
tion with Grieg, is sketched in softly by the
left hand, under the persistent pedal point of
C sharp, now placed in the very high register
(measures 7-16). This passage is of a pe-
culiar and most original sonority. With the
Tempo giiisto comes a bit of such thoroughly
Debussyan harmony that if we can fully un-

♦The point will be made quite clear by a com-
parison of this bit with the "second theme," on
page 20, which is much more of a melody, though
not of great (musical) interest.
Claude Debussy



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derstand these four measures we shall be in
possession of the key to the peculiar style
which he represents.
