Ternary form with a shortened final section that includes a coda/codetta (ABA1). The long B section is contrasted by a shift to the tonic minor key, narrow-range bass motifs and greater variety of dynamics, while the coda introduces a new but short melodic idea. All sections are united by persistent dominant pedals in quaver rhythm.
Melody and rhythm
In the A sections, the steady left hand quavers support a lyrical/cantabile right hand melody that includes dotted rhythms, gentle syncopation, occasional chromaticism and ornamentation (grace notes, turns, septuplets etc). The first A section begins and ends with four bar phrases which are repeated with only small variations. Much of the B section is also based on four eight bar phrases, some of which are repeated, but here the melody has a narrow range and consists mainly of crotchets and longer notes in the bass, while the quaver pedal transfers to the top part. The new melody in the coda starts unaccompanied and then moves to an inner part before the final cadence.
It is in Db major.
Chopin begins by defining the key with imperfect and perfect cadences and a dominant pedal. He then briefly visits related keys (dominant and relative minor) before modulating back to the tonic. The first A section ends with an imperfect cadence which prepares the way for the middle section. The middle section starts in the t9onic minor, enharmonically notated as C# minor. The two loudest parts of this section hint at E major (relative major of C# minor), but this key is not confirmed by cadences, and C# minor is soon reasserted. The section then ends with an imperfect cadence in C# minor, followed by another enharmonic modulation to restore the key of Db major for the final section. The music then remains in this key, despite some chromatic notes, until the end.
Entirely homophonic, except for two monophonic bars at the start of the coda. In the A sections, the texture consists of...
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