INTRODUCTION

We remember melodies because we can sing them, we feel rhythm like our heartbeat, and we interpret color through harmony. When melody, rhythm, and harmony are blended together, they devise structure, human-like qualities, and color. Maurice Ravel’s Jeux d’eau is an ambiguous piece of music that explores dialogue between melody, harmony, and color. It depicts water movement through scales and rapid arpeggios between registers on the piano juxtaposing the concept of extended harmony. Ravel incorporated extended harmony, polyrhythms, modal scales, thematic variations with the request of little interpretation in his music. Ravel’s integration of extended harmony is what creates the luxurious and lush color of this piece.

Jeux d’eau follows a pseudo sonata-allegro form since the structure operates differently from the typical sonata-allegro form as seen in the classical era composers of Mozart or Beethoven. The concept of extended harmony is prevalent in Jeux d’eau as this is what creates different types of color, nuance, and mood in the work. Ravel colorizes triads by adding 7th, 9th, 11th, and 13th intervals to the chords and altering those notes which gives them different colors from an interpretation perspective. The piece begins in the key of E major but moves away quickly. This essay will encompass how a pianist can create color with the various harmonic textures, scales, modes, and voicing to provide a clear structure.

HARMONY - BUT WHAT KIND?

With regard to harmony, Ravel formulated a wide palette of simple and complex harmonies containing extended harmony chords with 7th, 9th, 11th, and 13th chords. Further, Ravel implemented altered chords (lowering or raising one of the extended scale degrees of 7th, 9th, 11th, and 13th), tritone substitutions, modal harmony between mixolydian and dorian modes, and polytonality in the flood-like cadenza. Adding more notes in the harmonies allowed for the reflection of water to have a thicker harmonic color and more opportunity for a pianist to create a larger difference in nuance.

On the topic of extended harmony, Ravel bounces between an Emaj7 and Amaj7 in measures 1 and 2 creating an effervescent mood. In measures 3 and 4, Ravel moves between Amaj7 and D7add9#11. When Ravel moves between the major harmonies of E, A, and D, this is diatonic movement because A major is the subdominant of E major and D major is also the subdominant of A major making it a borrowed chord. Creating little harmonic friction and focusing more to establish the melody and a carbonated color. In the second half of measure 4, something eccentric occurs; Ravel composed a minor 3rd interval circle flowing through the major harmonies of B-flat7add9#11, G7add9#11, E7add9#11, and C#7b9#11. Federika Smith stated, “”the quality of the ninth and seventh chords coupled with the frequency of open intervals helps to set the Impressionist stage on which Jeux d’eau is played”. The harmonic analysis in this passage is crucial in understanding how the remainder of the piece operates from a music theory perspective which may help the interpretation of the work.

In the tail end of measure 6, Ravel incorporates a whole tone scale in 64th notes. Although this scale lacks a clear tonal key center, it adds a color of ambiguity, dreaminess, and brings the notes up to a brief reprise of the first theme on the downbeat of measure 7. This reprise brings us back to a tonic home before presenting new material from measures 9-14. Between measures 13 and 14, there is a large dynamic leap from pianissimo to fortissimo and two harmonic intervals occurring: the intervals of C#5 and B5 in the bottom staff and in the top staff an arpeggiated D5 with C#5 in blocked form. These harmonies submerse the piano with harmonic carbonation.

The development ranges from measure 29-61 and begins on the chord of B major. This passage contains an extended harmony in measure 29 and 30 with a whole tone scale integrated in the harmonies on beats 1 to 3 in measure 30. Measure 31 alternates between G#7add9 and F#9add13; both can be interpreted as G# and F# mixolydian modes in the form of harmony. In measure 32, the harmonies of G#9, F#9, and E9 move by what can be interpreted as an incomplete whole tone scale with the exception of beat 4 - this is the tritone substitution. Since the harmony on beat 3 of measure 32 is an E9 and beat 4 goes to an A#maj7, the interval between the notes of E and A# is an augmented fourth or commonly known as the tritone. This can also be seen on beats 2 and 4 of measure 33. In all of these, the A#maj7 chord replaces the dominant seventh chord of B7. This A#maj7 tritone substitution can also be found in arpeggiated form on beat 4 of measure 34 and beats 2 and 4 of measure 35.

A place where Ravel writes extended harmonies beyond just the 7th and 9th is between measure 38-47 of the development. I will first discuss the most luxurious harmonies in this passage then discuss their importance of the piece. The first half of measure 38 and 39 is a C#7b9#11 and the harmony in the second half of these two bars is C#ø - now that’s quite the shift. The most extended and altered harmonies are found in measure 40 with a C#7b9(b10), F#7b9#11 in measure 4, then all half-diminished 11th chords in measure 44. This passage is built on 32nd note arpeggios which provides the main rhythmical drive but also incorporates all of the extended and altered notes.

HARMONY IS NOT A SUGGESTION

In measures 68, I will analyze this passage in two separate parts. First, let’s look at the three notes in the bottom stave. With every two arpeggios, the first note descends by whole step; the second note of each arpeggio forms a whole tone scale that goes up by step, down by skip, then repeats this pattern until the end of the measure; and the third note forms a descending chromatic scale. In the top stave, these arpeggios form tonal harmonies. The first being A minor, followed by B major, G minor, A major, F minor, G major, E-flat minor, and F major. Each of these harmonies are unexpected for two reasons: they don’t revolve around a specific key center and they are distantly related to one another - diatonically. B major is related to A minor by secondary dominant because the dominant chord in of the A harmonic minor scale is E major and the dominant of E major is B major.

In measure 69, a pattern occurs. The first half of the bar is an exact transposition in the second half. In the top stave of the first half, the harmonies are C minor, A minor, F#-minor, and E-flat minor. Although these harmonies are not diatonically related to each other, the tonic notes descend by minor and diminished thirds. The interval from C to A is a minor third; A to F-sharp can be interpreted as either a minor third or diminished third; and the F-sharp to E-flat is an augmented third.

Analyzing this passage from a music theory perspective helped me in the initial learning stages of this piece because there are various moving components ranging from augmented and diminished intervals, diatonic harmonies, contrasting step movement, and non-diatonic harmony movement. Once I understood how this passage functioned in music theory, I began to memorize it the same way I learned it by blocking the right hand harmonies alone and knowing the key and tonality (major or minor) of each harmony. Then, I practiced blocking the three left hand notes together, isolating the first, second, and third notes of each grouping by visually analyzing the step movements of the three separate voices. This taught me analyzing the functions of each individual unit separately and the tools required for learning different functions within a passage.

When putting together these individual voices, I decided to create a color that sparkles and makes the harmony of each unit unexpected for an effect that depicts a crystalized water.

SCALES, MODES, AND WAVES OF WATER

Ravel repeatedly utilizes arpeggios in intervals of 3rds, 4ths, and 5ths to create the effect of consistently flowing water. The glissando, minor pentatonic, whole-tone, octatonic, and pentatonic scale are used in arpeggiated and scale forms with fast rhythms such as sixteenth, thirty-second, and sixty-fourth notes to create this effect of a sweeping wall of water. These waves of water are given different timbres when played at varying registers. Arpeggios that are played on the highest piano register can have a more sparkling and light sound quality to them. On the contrary, arpeggios towards the middle register of the piano may require a warmer color for voicing so the melody is clear and the harmonies are established effectively.

The minor pentatonic scale omits the second and sixth notes of the scale therefore giving it an oriental and jazzy effect. Similar to when water is flowing downstream, the weight of it appears light and has a consistently moving feature to it. The whole tone scale has a time travel effect to it. The glissando has an effect of a big wave. These various scales create different colors and timbres then evoke warmth, effervescence, and carbonation to add to the sparkly and shimmering effect of the piece. Perhaps the more subtle passages reflect still water whereas Ravel’s use of the glissando or pentatonic scales swiftly moving across the keyboard present a water spout. Bastien Maussenet wrote “How Water is Transcribed in Piano Music” and he describes how the waves of water are depicted in arpeggios and their respective direction of travel. On the topic of water, Maussenet states, Ravel’s Jeux d'eau is a good example that evokes vivid water imagery through intricate piano techniques and harmonic innovation. These pieces, which could be compared to the works of painters like Monet and Renoir who captured the transient effects of light and colour on water, demonstrate a seamless fusion of sensory experiences.”

In addition to the pentatonic, whole-tone, and octatonic scales, Emily DeWoolfson has a reason to believe Ravel “unintentionally included scales [which] include the Iwato scale in the second half of measure 11; the Prometheus scale in measures 31 through the beginning of 32; and the Insen scale in beat 3 of measure 35.”

CREATING COLOR WITH HARMONY

As discussed in this essay, extended harmony is a form of adding more notes to create different colors. When we add intervals of 7th, 9th, 11th, and 13th, the color of the notes may sound more warm, effervescent, carbonated, or on the contrary the harmony may be striking. Now, there is a second part to my claim. We must take dynamic and tempo in account. A slower tempo may allow for my performance  to bring out these luxurious colors but if the tempo is faster then I will have to reproach how I colorize the notes. For example, in measure 1, the first harmony is an Emaj7add9, the dynamic is pianissimo, and the tempo is ♪=144. I would personally voice the first D# for warmth and the F# even more to show the unexpected part of the harmony for color.

STRUCTURED WATER GAMES

The form of Jeux d’eau follows closely what we would find in sonata form. An exposition with two themes, a development with a climax, a recap, then a coda encompassing themes from the exposition. In the exposition, measure 1 opens with the first theme which is reprised at measure 7. A transition occurs from measure 15-18 with a second theme introduced at measure 19. A conclusion of the exposition begins at measure 24 and ends at measure 28.

The development begins at measure 29 and concludes at measure 50. The first sequence begins at measure 29 and finishes at the end of measure 33. Measures 34 to 37 contain a fragmented motive from the first three notes of the development which is then found on the tops of the broken arpeggios. A new melody emerges from the depths of Jeux d’eau at measure 38 which creates fast, rhythmical momentum until the climax of this passage at the end of measure 48. Measure 51 marks the return of the development main theme; Ravel modulates this melody through three different keys.

Now there is a recapitulation with a G# pedal point then there is a solo cadenza that starts in tempo with rhythm then goes into a full cadenza with no bar lines. The Jeux d’eau chord consists of two harmonies - C major and F#-major - which are two highly dissonant sounds played at the same time. These two chords create the most tension possible because of the augmented fourth interval - commonly known as a tritone or devil’s tone. Then there is a brief restatement of the development second theme until the recap second theme recap within the waves of the minor pentatonic arpeggios.

CREATING COLOR WITH PEDALING AND DYNAMICS

Ravel’s pedal markings indicate how particular he was for the timbre of sound he wanted the musician to create. Further, pianists can use these pedal markings to their advantage as an avenue to create contrast in color between passages with and without una corda. In measure 1, Ravel indicates the damper and una corda pedals should be used. When a pianist pushes the una corda pedal down, it shifts the keys over so the hammer only strikes two strings - not three - which creates a more muted sound timbre.

In measure 21, Ravel indicates “tres corde” which translates to “three strings”. Here, the hammer returns to its natural position therefore causing all 88 hammers to strike three strings at once. Based on the register location of the notes in measure 21, I interpret Ravel’s tres corde as an opportunity to show a more shimmering, bright, and lustrous melodic shape. Since the previous two measures of 19 and 20 are the beginning of the second theme, this is a good place to show difference in color and sound timbre since it is the same melody as the previous two measures but with an extended phrase.

Voicing can be interpreted relatively with pedal and color due to their respective nature of sound quality. An option for interpretation follow: In measure 19, a pianist may voice the tops of the left hand octaves, then voice the bottom note of the octaves in measure 20, and then go back to voicing the top notes of the octaves in measures 19, 20, and 21.When it comes to interpretation, I think we can adhere to the pedal making indicated by Ravel then embody our own interpretation revolving around the style previously indicated within the reprises. If we follow Ravel’s writing closely in the first presentation of the second theme, I believe it is acceptable to do shape the melody differently within a boundary.

The melody of measure 29-30 is found in the top voice of each eighth note beat in measures 31-33. Please see the image on page 10 for the first presentation of the melody then a separate image of the variation of the melody. Although the varied melody follows the same pattern, Ravel modulates to a new key (A# major) and adds more harmonic thickness and opportunity for color.

WAVES, LOW TIDES, AND PHRASING

Between measures 34 and 37, Ravel begins a new sequence in the key center of A# major with motivic material at different octave pitches and arpeggios to move across the keyboard and enhance the natural color of the music. The melody contains the notes of F#, G#, and E# at the beginning of measure 35. This melody is a variation of the theme that commences the start of the development at measure 29. Ravel takes the first three notes of the melody at measure 29 and copies it in measure 35 through increased rhythm by sixteenth-note triplets and quadruplets that descends to the same melody of F#, G#, and E# two octaves lower then previously at the beginning of the measure. One measure later, Ravel modulates to the key of G major in a new sequence. The melody begins with D♮on beat 3 of measure 36 then moves to D#, E#, and D♮ followed by a repetition of this melody two octaves lower after brilliantly pianistic arpeggios perhaps creating an illusion of waves and different heights of water. Gina-Mihaela Pavel believed, “the entire mood is made up of effects, in this case water drops and sprays, waves, everything played with a flexible poignet…interpretation should not be dull, imprecise or diffuse. Therefore, this work needs a balance between technique and piano interpretation.” I use this quote of Pavel to bridge the thought between creating color and imagery in the register area of the piano and how rhythm and alter that.

HOW ANALYSIS CAN BENEFIT INTERPRETATION

Maurice Ravel’s Jeux d’eau proposes an opportunity for a musician to dissect the music on a microscopic level of comprehending harmony and melody, but it boils down to how we can use it to enhance our perception of the piece. Music theory allows us to understand harmony which grants us knowledge to create color in our own voice; color derives from understanding harmonic moments in a piece where the harmony travels somewhere we don’t naturally expect it to go. Oleksii Ivanchenko discussed Ravel’s Ondine from Gaspard de la Nuit and stated, “for a performer, this movement presents an entire complex of difficulties: timbral-coloristic organization of sound; technical virtuosic skills; and sense of rhythm within flexible time and movement…just as Jeux d'eau or Une barque sur l'océan, the performance of Ondine implies an overall effortless, flowing, delicate, transparent and clear sound of the piano. However, in certain episodes…the narrative content of the piece requires a deeper and richer quality of sound.”

WORKS CITED

DeWoolfson, Emily. "Harmony Adrift: The Influence of the “water topic” on Compositional Choices in Ravel’s Jeux d’eau." Master’s thesis, University of Pennsylvania, 2018.

https://etda.libraries.psu.edu/files/final_submissions/16764.

Ivanchenko, Oleksii. “Characteristics of Maurice Ravel’s Compositional Language as Seen Through the Texture of His Selected Piano Works and the Piano Suite Gaspard de la Nuit.” Doctoral thesis., University of Miami, 2015.

https://scholarship.miami.edu/esploro/outputs/doctoral/Characteristics-of-Maurice-Ravels-Compositional-Language/ 991031447889402976/filesAndLinks?index=0.

Maussenet, Bastien. "How Water Is Transcribed in Piano Music: Based on 20th Century French Composers." Master’s thesis, Royal College of Music, 2025. https://www.diva-portal.org/smash/get/diva2:1957990/FULLTEXT01.pdf.

Pavel, Gina-Mihaela. "The Origins of the Principles and Functions of the Chorus in the Greek Tragedy." Performing Arts 9, no. 2 (2016): 1-8.

https://webbut.unitbv.ro/index.php/Series_VIII/article/download/3912/3083/7615?utm_source.

Smith, Federika. “Ravel’s Jeux d’eau: Masterpiece of Color and Pianism.” Master’s Thesis, North State Texas University, 1977.

https://digital.library.unt.edu/ark:/67531/metadc2017074/m1/11/.