CONTEXT

Chopin born in Warsaw, Poland- became a composer, performer and teacher in Vienna and Paris

Chopin composed prelude no. 15 whilst isolated in a monastery in Vallderosa in Spain because he had tuberculosis- infectious disease. Died a year later at the age of 39- 1838

Prelude no.15 is nicknamed the 'Raindrop' because it was written during a storm. Repeated Ab quavers represent rain

A prelude is usually an introductory piece linked to another movement, however this prelude is a stand alone composition (1 in 24)

PEDAL

A pedal note is a long, unchanging or constantly repeated note. A dominant pedal is on the 5th note of the key. Tonic pedal uses the 1st note

STRUCTURE

ternary form- ABA- with a shortened final section that ends with a codetta. The middle section is longer than usual and contrasts with the first by changing to the tonic minor key (C# minor)

B section has a narrow range melody in the bass and a greater variety of dynamics. The coda (end passage) introduces a new but short melody. However, all sections given unification by the constant quaver rhythm dominant pedal notes.

MELODY

The lyrical/ cantabile (in a singing style) right hand melody in the A section begins with a tonic triad descending to the dominant, then climbs stepwise before descending stepwise towards the end of the phrase. The melody then contains ornaments such as septuplets, acciaccaturas, appoggiaturas and turns

Melody also sometimes chromatic. The first 'A' section melody has four bar phrases that are repeated with only small variations

B section melody begins in the bass and has a narrow range. The opening four notes which rise and then descend stepwise are repeated as a rising sequence in the next bar. There is then an ascending then descending tonic minor triad ending with a repeated dominant note. Much of the B section is based on four and eight bar phrases, some of which are repeated.

The new melody in the coda starts unaccompanied and is then moved to an inner part before the final cadence. Its descent stepwise followed by a leap is repeated lower as the music subsides

RHYTHM

In the 'A' sections there are regular left hand quavers. The right hand melody includes dotted rhythms and gentle syncopation
In section B the melody consists mostly of crotchets and longer notes in the bass, while the quaver pedal transfers to the top (& later an inner part)

TONALITY

C# enharmonic equivalent of Db. Piece begins in Db major. In section A, imperfect and perfect cadences and dominant pedal emphasizes the key. Music then moves briefly to the dominant and relative minor keys before relating back tot he tonic. 'A' section ends with an imperfect cadence, preparing the way for the middle section. Section B begins in the tonic minor (C# minor). The two loudest parts of the section seem to be in E major (relative major)- but no cadences to verify. C# minor soon returns. Section ends with an imperfect cadence in C# minor. Then enharmonic modulation back to Db major for the A1 section.

TEXTURE

The texture is homophonic, except two monophonic bars at the start of the coda. A section = melody dominated homophony and is often quite sparse with mainly 2 note chords above the repeated pedal note to support the right hand melody

Middle section = thicker chordal texture. At the beginning of section B the repeated pedal note is moved to the top right hand part, while the melody and bass consist of low notes in the left hand. In the loud sections, the texture is thickened by octave doubling in both hands, often resulting in six notes sounding at the same time. The pedal notes moves to an inner part withing the texture

USE OF THE PIANO

In section A, only the middle range of the piano is used. In section B, Chopin makes use of the sonorous bass register.

Some florid ornaments- but not technically difficult

legato/ cantabile tone needed and a wide dynamic range

Tone reinforced with octave doubling and sustaining pedal used

The soft damper pedal can be used at the start of the middle section where the music is marked 'sotto voce'

Rubato playing style (manipulating rhythm in order to play emotionally)

Section A= simple broken chord accompaniment and higher pitch than B
simple quadruple time 4/4
b 31- bare 5ths makes music sound ambiguous (section B)
dominant seventh chords also used

FEATURES OF ROMANTIC MUSIC

intense expression of feelings and emotions in music
longer and more developed melodies
melodies more chromatic
more freedom in the use of musical form and structure
harmony more chromatic with unresolved discords
dramatic dynamic contrasts
music describes emotions, a story, characters or words
expansion of the orchestra with new wind and percussion instruments
use of folk music and dance rhythms as composers become very nationalistic and patriotic
composers such as Chopin, Brahms and Liszt

FEATURES OF CHOPIN'S MUSIC

composed almost entirely for piano

long lyrical melodies with graceful ornamentation

spreading arpeggios

broken chord accompaniment

subtle pedalling effects

discrete use of the romantic 'tempo rubato' in the music

virtuoso passages played very quickly

a wide range of touch and tone quality

a deeply expressive range of dynamics