Prelude No. 15 (Raindrop Prelude) 5.0 / 5 based on 1 rating ? MusicChopinGCSEEdexcel Created by: Viv LeongCreated on: 19-04-14 10:11 General features of Romantic music (c. 1800-1900) part of the Romantic movement, which could also be found in art and literature emphasis on expressing wide ranges of feelings and emotions long and developed melody lines freedom for the composer in terms of form and structure extended chords used (7ths, 9ths and 11ths); dominant 13ths were very important also used diminished 7th, augmented 6th, neapolitan chords, etc frequent use of chromatic and discordant harmonies strong and varied dynamic contrasts (pppp-ffff) rise of virtuoso performer led to an increased level of technical demand rise of Nationalism (traditional/folk ideas expressed in music, such as Polish folk melodies in Chopin's work) orchestra expanded, with larger sections and new instruments piano was developed 1 of 7 Melody cantabile lyrical falling motif periodic phases section A - melody solely in the right hand section B - melody in both hands at different points ornaments in section A rubato used quavers on a pedal note in accompanying hand Ab in the left hand during section A G# in the right/left hands during section B 2 of 7 Harmony/tonality begins in Db major, modulates to C# minor (enharmonic minor) in section B, returns to Db major for section A2 some modulation to chords (related and unrelated) in section A1 and section B mostly diatonic with only a little chromaticism regular cadences used to define the keys perfect cadence at the end use of 7th and 9th chords dominant pedal (Ab in section A; G# in section B) 3 of 7 Rhythm/metre some complex rhythms used rubato allows performer some freedom for expression repeated quavers are a theme throughout 4/4 throughout use of septuplets and other such rhythms 4 of 7 Texture broken chords in accompaniment for section A chordal accompaniment in section B right hand plays some octaves in section B homophonic: melody and accompaniment monophonic at the end (in codetta) 5 of 7 Dynamics different markings for each hand varies from pp to ff lots of crescendos and diminuendos but no sudden contrasts begins softly section A is soft throughout section B varies more but is largely forte (more so than other parts); begins sotto voce ends very piano smorzando at the end (dying away) 6 of 7 Structure ternary (ABA) with codetta at the end long section B 7 of 7
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