Natasha Zahor

9/28/16
Music History 3
Duchan

Claude Debussy wrote his symphonic poem, Nocturnes, in the years 1897-1899. The first
movement is called Nauges or also commonly known as Clouds. After analyzing the first
movement, it is clear that Debussy prefers parallel motion. There are examples of parallel,
contrary, and oblique motion in the piece but the parallel motion seems to stand out the most.
When looking at the first ten bars of the piece, one might disagree that parallel motion is
most important. These first few measure share an even amount of contrary and oblique motion.
This is necessary for the beginning of the piece, which is meant to represent clouds, to set the
feeling of moving without going anywhere. It is not until measure fourteen where we see the first
bit of parallel motion in the violins. In measure seventeen, in the violins, we see parallel motion
again not only within their own parts but also together. Another example of parallel motion is
two measures over in measure nineteen through twenty-one in all parts playing. The cors drop
out and the violins and altos continue playing parallel motion all the way to measure thirty-one.
The clarinets play parallel motion with themselves in measure thirty-three. In measure fourty-six,
the first altos are playing parallel motion and the second altos are playing contrary. This is only
for one measure when, in measure fourty-seven, there is parallel motion between the two.
Another example of parallel motion is in measure sixty-one in the alto and violincellos lines.
Then in measure sixty-two, the clarinets and the cors join in parallel motion for one measure
before the altos and violincellos repeat their same parallel motion form measure sixty-one in
measure sixty-three. In measure sixty-six, the clarinets, cors, and violins are demonstrating
parallel motion again. The first cors play parallel motion in measure eighty-two as well as in

measure eighty-six. Having so many examples of this type of motion is one reason to believe it is
Debussys preference.
Another reason to believe parallel motion is the most important motion in this piece is the
use of dynamics while using parallel motion. The first section we see in measure fourteen, comes
right after a crescendo. Though the dynamics did not change drastically, it is noticeable. Where
the dynamic change is drastically noticeable is from measure twenty-one, where the dynamic
marking is pianissimo, to measure twenty-nine, where the dynamic marking is forte. The
crescendo implies a climactic moment in the piece and using parallel motion at its peak implies a
significance of the motion. Another crescendo occurs in measures thirty-nine to forty-one where
we can see parallel motion between the bassoons, and clarinets. The parallel motion that occurs
in measure sixty-two uses the hairpin dynamic as an emphasis. The opposite affect happens in
measure eighty-two and eighty-three where parallel motion occurs along with a diminuendo.
This time, Debussy is using a dynamic marking not to be climactic, but to lead to conclusion.
This same affect happens in measure eighty-six and eight-seven. Having multiple examples of
parallel motion and dynamics working together proves parallel motion is a preference of
Debussys.
Another piece of evidence that proves Debussy preferred parallel motion is that he often
writes parallel motion in multiple instruments at once. In measure fourteen, our first sign of
parallel motion, every instrument scored is using this type of motion. This creates a significant
affect. The parallel motion in measure twenty-one to measure thirty-one is scored for eight
voices. In measure sixty-six, parallel motion occurs in four voices.

After my analysis, my conclusion is, because of the extensive use of, the use of dynamics
with, and the number of instruments playing parallel motion, parallel motion is preferred by
Claude Debussy in his piece Nocturnes. The many examples prove this to be true.