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Prelude no. 4, op. 28, no. 4, E minor
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Chopin - Prelude in E minor Op.28 No.4 midi file for Bassoon (midi)
Instead of moving voices at the same time, Chopin begins with the lower voice, followed by the upper voice, and finally the middle voice. This method creates a heightened sense of chromaticism and some interesting chords in the process. In measure 4, Chopin uses a similar method of voice leading to resolve eventually to iv-again, anticipation tones are labeled above. Measures feature descending chromatic motion in the tenor voice G-F -F and bass voice E-D -D which again generates some interesting harmony, including the D7 bVII7 in measure 7 and vii diminished 7th of iv.
Another appoggiatura appears in the upper voice in measure 9 which is, not coincidentally, the chord 9th. This addition extends the harmony at a key point in the form. Although there is no regular pattern to the way the voices move in measures , voices most commonly descend by half step; all other voices descend by whole step. This implies that the harmony is actually B7 9 , and it sounds accordingly. This chord is very common in Jazz but is seldom seen in Romantic music.
Chopin Preludes, Op. 28
Measures are very similar to measures but Chopin uses harmonic diminution by omitting the chord from beat 3 of measure, instead progressing to the chord from beat 1 of measure 4 a half-measure early. Measure 17 features another altered dominant chord, this time B7 b9 , which resolves back to i. Later, in measures , Chopin follows a deceptive cadence on VI C by adding the pitch Bb, the chord's lowered 7th degree, implying a German augmented 6th chord and propelling us toward ii. Measure 22 features I 2nd inversion with a suspended 4th resolving to a major 3rd.
This creates a momentary major I chord before the 3rd degree descends by half step to return to i minor. At this point, the final cadence begins with a clear German augmented 6th chord, then V with a suspension resolving to V-i. In his Prelude No. This process yielded 25 measures of music that are at once logical and unpredictable.
Upon first listen, or first glance at a score, Chopin's Prelude No. Known as "Desperation", this prelude features a heavily figured top voice in the R. Comparing the first 2 measures of the score Appendix B with Figure 3 below , a harmonic reduction, is quite revealing:. Once again, Chopin uses a very simple harmonic progression as the foundation on which he stacks intricate chromaticism.
24 Préludes, Op. 28: Prelude No. 4 in E Minor, Op. 28, No. 4
An analysis of the top voice shows that it supports the harmony and melody shown above but incorporates several appoggiaturas that could be analyzed as either passing tones or extensions of the harmony. The G and B that occur during beats 1 and 2 could be heard as the 9th and 11th of the tonic F minor chord. The ii half-diminished chord that follows is extended by the appearance of A 9th and C 11th , and over the V7 chord on beat 4 Chopin adds the flatted 9th D.
All of this is evidence that Chopin wished to extend the harmonic vocabulary of the day while remaining faithful to certain aspects of the common practice period, such as balance and the consistent use of functional harmonic progressions. Measures 3 and 4 appear to be a development of beats 3 and 4 from measures 1 and 2. The ii half-diminished chord, in 2nd inversion, and the root position V7 chord are repeated in the keys of C minor v and B minor iv.
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This progression, D half-diminished 7th-G 7-C half-diminished 7th-F 7 is followed by FG diminished 7th-F diminished 7th, before finally resolving to the tonic, F minor. The best explanation of this harmonic sequence seems to be that, after the ii-V sequence lands us in B minor, F 7 V in B minor becomes the German augmented 6th chord in the key of Bb.
Chopin - Prelude in E minor Op No.4 sheet music for Piano - kneelevafradi.ml
The F7 that follows can be seen as the German augmented 6th chord in the key of A, because the next chord, G diminished 7th, would lead us to a new tonic of A major which would be III in the original key. Instead, Chopin moves the diminished chord down an inversion and uses it as E diminished 7th to modulate back to the home key of F minor.
The first two measures are restated with slight variation in measures 5 and 6, but in Figure 4, a reduction of measures 7 and 8, another chromatic sequence appears. These two measures are related to measures 3 and 4, but this time Chopin employs a chain of German augmented 6th chords to modulate:. The German augmented 6th chord in the key of Bb major Gb7 resolves to a Bb major triad in 2nd inversion in measure 9, completing the modulation.
Measures consist of a series of diminished 7th and dominant 7th chords over an F pedal V in Bb major. On beat 3 of bar 12 Chopin uses a common-chord modulation, iv in the key of Bb Eb minor becomes iii in Cb major.