Claude debussy arabesque no 1

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Two Arabesques

Pair of arabesques composed for piano by Claude Debussy

The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891.

The arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes throughout both pieces. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time.^[1] Of the arabesque in baroque music, he wrote:^[2]

“That was the age of the ‘wonderful arabesque' when music was subject to the laws of beauty inscribed in the movements of Nature herself.”

The arabesques

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The two arabesques are given these tempo marks:^[3]

1. Andantinocon moto
2. Allegrettoscherzando

Arabesque No. 1. Andantino con moto

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This arabesque is in the key of E major. The piece begins with parallelism of triads in first inversion, a composition technique very much used by Debussy and other Impressionists whic

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Arabesque No. 1 – Claude DebussySection LabelBar No.Structure LabelMelodyTonalityNotes/DetailsA1Intro3 (seg.)E (I)Stepwise descending bass motion ending on V9.34 (var. & seg.)B6A1Static and then step ascending bass.102C173Full theme with a consequent that is then explored as a transition into D. Stepwise moving bass descending at first then moving both ways.23A (IV)D264Full theme with a consequent.29E (I)E39B5A (IV)Texture becomes more homophonic in quality, with block chord voice leading.F476Rising 4ths in the bottom note of each broken chord (right hand/treble staff) landing on B at 48.G555Near replica of Section Label E, Bar 39.H635C (VI)Mirror progression at 63-65: I-IV-V-vi-[V]-vi-V-IV-I, with stepwise movement in the bass: E-F-G-A-[B]-A-G-F-EI71Intro3 (seg.)E (I)Replica of Intro734 (var. & seg.)J76A1Replica of Section Label E, Bar 6802K873 (Var.)Variation of Section Label C, Bar 17: Theme 2 antecedent the same, but varied consequent.91A (IV)Exploration of theme 2 consequent transitioning to Coda.L95Coda1E (I)After a brief V pedal the harmony rests on I, reiter