Chopin Music
Melody: In Section A, there are stead left-hand quavers supported by a lyrical right-hand melody. This begins and ends with the 4 bar phrases repeated with small variation. In Section B it is also based on 4 and 8 bar phrases with some of them repeated. The melody has a narrow range and it consist mainly of quavers, longer notes in the bass and the quaver pedal transfers to the top part. The Cods starts unaccompanied and then it moves to an inner part before the final cadence. The melody also included a falling motif, a rising scale, adding 6th, a septuplet.
Dynamics: In Section A, there are subtle crescendos and diminuendos but there is a wider range of dynamics in the Middle Section. By Section B, the dynamics range from piano to fortissimo, and the crescendos and diminuendos are longer. By Section A1 it reverts back to piano. By the 9 bars until the end, there is a single and sudden forte that occurs, with a quick diminuendo that follows and then it is pianissimo to the end.
Texture: The piece is entirely homophonic and there are 2 monophonic bars at the start of coda. The A sections consist of a tune and broken chordal accompaniment. The texture is often quite thin, with mainly two-note chords above the repeated pedal note that supports the right-hand melody. There is chordal texture in Section B and the right-hand is in octaves here. The melody and bass are both low in the left hand. The texture is thickened in the loud section by the doubling of octaves in both hands.
Structure: It is in a ternary form with a shortened final section, a coda and 4 bar phrases. The long section B is contrasted by a shift to the tonic key and narrow-range bass motifs. The coda introduces a new but short melodic idea, but all the sections are united by persistent dominant pedals in quaver rhythm.
Tonality and Harmony: Section A is in the tonic key of Db major, the countermelody is in Ab major but Section B is modulated to C# minor. Chopin defines the key of Db major by
Dynamics: In Section A, there are subtle crescendos and diminuendos but there is a wider range of dynamics in the Middle Section. By Section B, the dynamics range from piano to fortissimo, and the crescendos and diminuendos are longer. By Section A1 it reverts back to piano. By the 9 bars until the end, there is a single and sudden forte that occurs, with a quick diminuendo that follows and then it is pianissimo to the end.
Texture: The piece is entirely homophonic and there are 2 monophonic bars at the start of coda. The A sections consist of a tune and broken chordal accompaniment. The texture is often quite thin, with mainly two-note chords above the repeated pedal note that supports the right-hand melody. There is chordal texture in Section B and the right-hand is in octaves here. The melody and bass are both low in the left hand. The texture is thickened in the loud section by the doubling of octaves in both hands.
Structure: It is in a ternary form with a shortened final section, a coda and 4 bar phrases. The long section B is contrasted by a shift to the tonic key and narrow-range bass motifs. The coda introduces a new but short melodic idea, but all the sections are united by persistent dominant pedals in quaver rhythm.
Tonality and Harmony: Section A is in the tonic key of Db major, the countermelody is in Ab major but Section B is modulated to C# minor. Chopin defines the key of Db major by