Holzer 1

Steven Holzer

Prof. Miroslav Pudlak

Music Theory IV

22 March 2015

Syrinx, pour Flǔte: A modal mystery

In order to fully understand the work Syrinx, pour Flǔte by Claude Debussy, we must

first understand the context in which it was composed and how Debussy when about writing

such a piece. Debussy lived from 1862 to 1918, and composed primarily in a period of

“impressionist” music. Though off the record Debussy didn’t like the term, his work can be

characterized in this way along with other impressionist composers like Ravel. In this time

period was the concept of impressionist artwork by artists like Monet. This type of art is

characterized by unusual visual angles, vast color palettes, open composition, and symbolism in

seemingly ordinary subject matter. It is not a stretch to say that much of these characteristics can

be found in Debussy’s music. He creates a variety of timbres and musical colors by using

unusual scales and chromatic movement in a unique mixture with some elements of traditional

harmony. These elements are used frequently to depict harmonically and melodically the image

that Debussy wishes to portray. Growing up as a pianist on par with Georges Bizet, he studied

theory and composition with the foremost French musicians in the field at the time. Syrinx was

composed as part of an unfinished play in 1913 and is consistent with Debussy’s style.

Before addressing the knitty-gritty of the harmonic structures within this piece,

understanding its inspiration will give new light to the abstract nature of Debussy’s melodies.

Originally written as incidental music in an unfinished play, the piece is a popular piece in the

Holzer 2

repertoire of flute soloists as well as alto and tenor saxophonists. “The title “Syrinx, pour Flǔte”

translates in two different ways. First, syrinx is a word of greek etymology that is used for pan

pipes, an instrument of several wooden or reed pipes that are tied together and blow across to

make sound, much like a flute. With this interpretation, the piece has a mysterious, ancient

colour surrounding it. A second interpretation could be that of birds. A Syrinx is the organ by

which birds make their distinct calls. With this in mind, the piece resonates in a more exotic,

aviary manner. In either of these cases, the choice of solo flute as the instrumentation is a valid

one. The flute shares similar character and mechanics with the pan pipes. The flute is also

commonly associated with birds, as the nature of its range and the airy, fluttering sonority

resembles that of bird call. The subtitle “Pièce pour Psyché” also requires explanation. This

translates, to “piece for mind.” Debussy implies that the piece is meant to conjure an image in

the mind’s eye of the listener. This is consistent with either the birdlike character of the piece as

well as the mysterious aboriginal sound. Simplicity in solo flute orchestration allows for a clearer

image of birds or pan pipes. Because the piece is unaccompanied, it is easier for the listener to

interpret each sound, melody, and section of the work without the distraction of complex

harmony.

In the realm of formal analysis, the piece is broken up into sections by descriptive French

text. Starting with Tres Modere or “very moderate”, the piece moves to Un peu

mouvemente(mais tres peu) or “A little movement but not too much.” The work returns to

moderation with au Mouvemente (tres modere) and finishes with short sections of En retenant

jusqu’a la fin and Tres retenu, or “retained until the end” and “very retained” respectively.

Within each of these sections is a distinct character that can be described with tone color as well

as alternating modal characteristics. The first section “very moderate” consists of a mode with

Holzer 3

the notes Bb, B natural, C, Db, E natural, F, Gb, G natural, A flat, and A natural. The mode

contains near chromatic qualities with the exception of Eb and D natural.

Above is a prominent motif, the first measure of which can be found in every section

previously described, excluding the penultimate and ultimate sections. Within these measures,

we can observe several things. First, the mode previously describes can be found in its entirety

within the notes of the melody, keeping in mind enharmonic notes. Secondly, upon analyzing the

first two beats intervallically, the first note descends 1 semitone, then ascends 2 semitones, and

then falls another 3 semitones. The structure is then repeated starting on the resulting note of the

first structure. If this pattern of 1-2-3 is inverted, in a way, it can then be used to describe the

second measure of the initial phrase. Beginning on the Db before the second measure, assuming

pitch class intervals, Db descends 3 semitones, then ascends 2 semitones and then falls a final 1

semitone, demonstrating the same motif backwards. Upon analyzing the whole piece for this

motif and its reverse, it can be found repeated in every section but the final two.

The mode described in the first section changes in the second line of the “A little

movement but not too much” section. The new mode consists of Bb, C, Db, D, Eb, E, F, Gb, G,

Ab, and A. In this new mode, B natural is removed and Eb is added. Throughout the more motile

section, this mode takes precedence, used in a pentatonic pattern until a sudden Cb is added into

the scalar pattern to cause a move towards whole-tone tonality. This can be seen in the following

measures:

Holzer 4

The Cb is used as a pivot point to climb to the higher registers of the flute in order to present the

initial motif in its original octave. This occurs in the next moderate section which uses the initial

motif as a tool to reach the highest notes in the piece as a climax. The final two sections act as a

closing and contain more and more of the whole tone scale. The final few bars contain only the

whole tone scale based on Db:

The use of alternating modes and scales creates a constant flowing mysteriousness that

perpetuates the image Debussy is trying to conjure in the minds of the listener. It is worth noting

that his use of alternating duplet and triplet rhythms contributes to this effect but is used freely

and often without pattern. Alternating dynamics, tempo and performance instructions (ex:

Retenu, which means retained) further the idea that the melody is free and flowing. Overall, the

combination of these elements truly leaves an impression on the listener.

Though aurally dense and complex sounding, Debussy uses a fairly simple system of

modes and motif to create a melodically tricky demonstration of solo flute. He creates a visual

image in the mind of the listener and portrays “syrinx” accurately. Debussy uses chromaticism

and unique scales that crosse multiple registers and characters of the flute in order to achieve this

mysterious sounding journey into the psyche.

Holzer 5

Works Cited:

http://www.britannica.com/EBchecked/topic/154804/Claude-Debussy

http://www.flutemonkey.com/Syrinx.html