Unlike operatic and orchestral music, chamber music, in common with song, thrived in the salons and the Société nationale. It was a rich period for chamber-music composition, with many works establishing a distinctively French style for genres like the string quartet (just as the French symphony came to distinguish itself from German models). Debussy was at his least idiosyncratic in his one published string quartet, which may be seen as an attempt to conform to expectations, at least in some aspects of the genre. Late in life he chose to distil the most personal features of his style in six chamber works, which pay tribute to remote French traditions, even though only three of these works were completed. The chapter concludes with a consideration of some of the attempts to complete Debussy’s incomplete set of six sonatas, of which he lived to complete only three.