THE ROLE OF PEDAL POINT (ORGELPUNKT) IN THE COMPOSITION OF PIANO PRELUDES BY CLAUDE DEBUSSY

This paper analyses the piano preludes by Claude Debussy since they represent inspiring material that fosters a comprehensive study of their complexity and versatile structure. The acknowledgment of the pedal point, the orgelpunkt, as a justified and theoretically proven factor of stability and tonal orientation as well as a significant coloristic element, created a novel attitude towards these interesting programme and Impressionist sound images. The pedal point which Claude Debussy used in the composition of the piano preludes is recognized as part of an accompanying, layered texture on the tonic and/or the dominant notes, and also as the pedal quints, pedal environment, osinato motifs, figures and bass, marked pedal points, all of which offer a possibility for versatile and creative analytical reflection.