Once again we are in the simple ternary section of the book, and this is the form of this prelude.
The first phrase consists of the first six measures. This phrase modulates from F-sharp major to C-sharp major ending on a PAC though the PAC is short lived. You could make arguments for some PAC's in F-sharp throughout the first few measures, but the initial chord is immediately followed by the seventh in the bass which takes away the strength of the
The B section has major differences compared to the A section. The eighth notes in the left hand become double stops, an eighth note line is added to the right hand, a key change and markings of "piu lento" and "sostenuto" on the music. I don't have a 100% feeling of key for this section, but since most of the bass line is hanging around the key of D sharp minor, it is probably the key. Once again, there are feelings of tonic but not strong enough to be a cadence. This section is nine bars long and modulates back to the original key of F sharp major.
The return of the A section is only ten bars long. The first couple of bars are parallel with the opening A section, but then there is additional development of the main theme and a PAC in F sharp major in the sixth bar, eighth bar, and the last two bars serve a terminative function to end in the key of F sharp major.
Monday, March 07, 2005
Chopin - Prelude in F-Sharp Major Op. 28 No. 13
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1 comment:
Wow - we had very different interpretations of this.
I agree with John in that I feel like the cadences in the beginning are in F# - the seventh (B) takes away strength from it being a modulation to C#, not a PAC in F#. Also, I felt that the same section was made up of two phrases and not one.
Good job though - very thorough but not too boring (mine was).
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