Tabular Analysis for SW3 Chopin

Key details as tabular analysis.

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  • Created by: Arjun
  • Created on: 22-06-11 10:08
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Musical Feature Notes
Dynamics To emphasise the soft raindrops, bar one opens in piano dynamics.
Small dynamic change in bar 68 and 1314. This is used throughout
the piece.
Section B sees large dynamic contrast, with the crescendo in bar 35
to a strong fortissimo in bar 40. Generally however, dynamic change
is always very slight, and gradual, using crescendos and diminuendos.
Forte passage in bar 70. Quick and repetitive dynamic contrast in bar
71. This section does not necessarily use slight change ­ in fact the
contrast is quite sharp.
The repetition of the first motif in bar 80 contrasts to bar 1, as it is
forte, rather than piano.
The piece ends in a very soft pianissimo, emphasising a very delicate
touch on the dynamics in the Coda.
Rhythm The constant rhythm is emphasised by the raindrop pedal that remains
throughout the entire piece. This means that tempo rubato ­
changing tempo on the performers decision, does not largely affect the
overall timing.
Use of ornaments, for example the acciaccatura in bar 3, as well as
the turns in bar 3 and 23, which can also be told as chromatic
septuplet figures.
Generally, a lot of dotted rhythms found throughout the piece,
emphasise an uneven rhythm, taking us away from the general pedal
raindrops that remain in the background.
In section B, due the decreased usage of dotted rhythms, we get a
rather militarylike beat ­ quaver beats in the right hand, and crotchets
in the left hand, repeating from bars 28 to 54.
Structure The structure is in ternary form ­ this means ABA, however it
includes a Coda (finale) at the end of the piece (last 8 bars).
Section A introduces the main theme of the piece, with the falling
raindrop motif in bar one, which can then be used throughout the
piece. Furthermore, we are introduced to the common pedal that
recurs throughout.
Section B is a contrasting section, using key changes and rhythmic
changes for emphasis on change.
After a repeat of section A, we have Coda (finale), which shows the
end of the piece, marked by the jolt upright ­ the highest note in the
piece in bar 81.
Context The romantic period came about after the Classical era, in
The era first came into sight as composers developed a stronger
sense of feeling and emotion within their music.
People could change tempo to emphasise feelings (tempo rubato),
which we can therefore see emphasises Chopin's variation with tempo
and dynamics throughout the piece for this specific reason.
The use of the piano had become much more global ­ the use of
sustaining and soft pedals could be used to largely vary dynamics and
tempo ­ an important factor of the period.
Arjun Paliwal 11P

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Harmony Section A is in D flat major, whilst section B is in the tonic minor ­ C
sharp minor. However, of course Chopin does use various other keys
throughout the piece in both sections.
For example in bar 12 we see the first pivot into modulation into the
relative minor B flat. This is supported by cadences in this key.…read more

Page 3

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the sections. In this section, we also see that the piano uses a wider
range on the piano.…read more


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