Gigues had the original title of Gigues tristes, and Debussy used his memories of England as inspiration for the music, in addition to the song "Dansons la gigue" of Charles Bordes. Debussy also used the Scottish folk tune "The Keel Row" as material for this movement.
Controversy exists over the role of André Caplet in the orchestration of Gigues. Robert Orledge and Williametta Spencer are two writers, for example, who have accepted Caplet as assisting with the orchestration. In contrast, François Lesure has stated, based on manuscript examination in the Bibliothèque National (MS 1010), that Caplet did not assist with the orchestration.
II. Ibéria (1905–1908)
Ibéria is the most popular of the three orchestral Images and itself forms a triptych within a triptych. The three sections of Ibéria are:
The music is inspired by impressions of Spain. Richard Langham Smith has commented on Debussy's own wish to incorporate ideas of juxtaposing elements of the visual arts in musical terms, including a quote from Debussy to Caplet from a letter of 26 February 1910:
"You can't imagine how naturally the transition works between 'Parfums de la nuit' and 'Le Matin d'un jour de fête. ''Ça n'a pas l'air d'être écrit."
Matthew Brown has briefly commented on Debussy's use of techniques such as incomplete progressions, parenthetical episodes and interpolations in Ibéria.
III. Rondes de printemps ("Round dances of spring") (1905–1909)
Debussy utilised two folk tunes, "Nous n'irons plus au bois" and "Do, do l'enfant do" in this movement. Brown, Dempster and Headlam have analysed the tonal structure of this movement.
Nocturnes: Fêtes.1 Jeux.1 Images pour orchestre.2; Incidental Music to a Motion Picture Scene.2; Le sacre du printemps3
Mar 01, 2009; DEBUSSY Nocturnes: Fêtes.1 Jeux.1 Images pour orchestre.2 SCHOENBERG Incidental Music to a Motion Picture Scene.2 STRAVINSKY Le...