Thanks!
I also found a questionable case from Debussy, “Les collines d’Anacapri”:
from 0:30 the main phrase starts. It in the key of B. The phrase consists of B, C♯, D♯, F♯, G♯, A♯; the Omitted-4 B major scale.
from 2:13 the melody appears again, but the left hand plays D♮. The area is very much modal so I cannot clarify the key, but considering that D♯ is replaced with D♮, it’s B melodic minor. So kinda seen as retonalitization to parallel minor key.
The phrase contains D♯ in the later part. In this case, Debussy avoid clashing by using chromaticism. The left hand goes crazily chromatic obviously just before when D♯ and D would clash😂
I believe that the pentatonic-ish-ness (though it’s just omitted-4, not really pentatonic) contributes to blurring the major key qualities from the outset, making it easier to switch the accompaniment to parallel minor in the middle section as a result.
