Chopin

Chopin

1. Structure

   • Ternary Form (ABA with shortened second section A
   • Section B is long - it is over half of the piece
   • Section B contrasts by a tonic minor key, greater range of dynamics and melody in the bass line
   • All sections are united (made similar) by the repeated dominant pedal in quaver rhythm

2. Melody and Rhythm

   • A short new melody is introduced in the coda
   • Section A
     • Section A uses mainly 4 bar phrases
     • Steady left hand quavers
     • Right hand melody is cantabile (singable/lyrical) and includes dotted rhythms, gentle syncopation, occasional chromaticism and ornamentation
   • Section B
     • Based on 4 and 8 bar phrases - some of which are repeated
     • Melody has narrow range

3. Tonality

   • The piece is in D flat major
   • Section B is in the enharmonic tonic minor - C sharp minor
   • Section B hints at E major but it is not confirmed by a cadence
   • Section A is in D flat major with brief modulations to related keys
   • Section A returns again in D flat major
   • Section A and B end in IMPERFECT CADENCES. The prelude ends in a PERFECT CADENCE

4. Texture

   • Almost entirely homophonic
   • Two monophonic bars at the start of the coda
   • Louder sections have thicker textures by octave doubling in both hands
   • Section A - texture consists of tune and accompaniment (melody-dominated homophony)
   • Section B - has more chordal texture, repeated pedal note is inverted while the melody is in left hand

5. Use of Piano

   • The work does not require the type of virtuoso technique for other piano music of the period
   • Section A - middle range of piano
   • Section B - uses middle range AND bass
   • Use of the sustain pedal
   • The piece focusses more of the pianists ability to produce a cantabile tone and wide dynamic range
   • There is the potential for the pianist to use the soft pedal at the start of section B

6. Romantic Music

   • c.1825 - 1900
   • Music often centred on CONVEYING EMOTIONS, TELLING STORIES AND PAINTING MUSICAL PICTURES
   • Key Features
     • EXPRESSIVE and EMOTIONAL
     • CHROMATIC harmonies with greater MODULATIONS
     • Larger orchestras and more virtuoso players
     • Structures and forms become longer

7. Prelude No.15