On page 20, the manuscript’s penultimate page, Debussy exercises two instances of outright excision, two full measures marked out in ink in the third score. Further, he has again employed his customary notation conventions signifying repetition: brackets, in the fifth score; and symbols resembling large percentage signs, in the first, fourth, and fifth scores.

The bars that make up the entirety of the third score account for twelve bars that appear in the published score from the 5^th bar after the key change (five flats) up to rehearsal no. 61, marked Très animé, where the descending 16^th-note figures commence (at the beginning of the fourth score). Note that Debussy has not yet, in this manuscript, indicated the Très animé direction. Further, throughout the third score’s twelve bars of chorale-like texture that he will eventually assign to the brass, he has left unscored the very active musical lines that he will eventually assign to the woodwinds and strings in the completed orchestral score.