When the audience mentions impressionist composers, many remember Claude Debussy (1862–1918) as the first icon. To this day, his vocal works remain one of the most popular choices of French music for singers. It is also frequently featured in recitals, auditions, and competitions. Critics have insisted on associating Debussy with impressionism even though he did not agree with the label. Critics claim that Debussy’s alternations of major, minor, augmented, and diminished chords in conjunction with Verlaine’s impressionistic poetry produced the same novel effect as the contrast between light and shadow in the painting, which provides one answer. This paper will explore which elements of Debussy’s first published song cycle, Ariettes oubliées, embody characteristics of impressionistic music.