Chopin- Raindrop Prelude Analysis

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Musical Analysis of… Chopin’s Prelude in Dᵇ Major Op.28, no. 15 Genre/Style Chopin’s prelude in Dᵇ is from the romantic period, which began in the late 18th/early 19th century. Composers like Chopin were at the forefront of this change in music, developing the writing and playing of solo piano, orchestral and opera works and how music was performed. There were many composers from this era that were very well known, especially in their later years, or after their deaths: Liszt, Beethoven, Schubert, Schumann, Chopin, Verdi, Brahms, Tchaikovsky and Strauss are just a few of the better known ones. There was a lot of experimentation at the start of the period therefore changes in how composers wrote and played melodies, harmonies and rhythms…show more content…
The romantic pianos on which Chopin was composing were not too different from the modern pianos. The cast-iron frame was developed in his time allowing powerful sounds to be created- there were two pedals- the damper and soft pedals- creating the sustained and dynamic qualities wanted by composers. The keyboard would have been the full length, or close to the full length of the modern piano. Structure, Tonality, Modulations and General Musicianship TERNARY FORM | A | B | A (2)/Coda | Bars | 1-27 | 28-75 | 76-89 | Key Signature/Modulations | Dᵇ Major | C# Minor (enharmonic equivalent) | Dᵇ Major | The piece has a time signature of 4/4 (C=common time) and is primarily in Db Major, modulating to C# Minor (the enharmonic equivalent). The accompaniment (left hand) through section A is based around the tonic and dominant chords- Dᵇ and Aᵇ- with the repeated quavers being Aᵇ - the dominant. In the B section, the repeated quavers played both as singular notes and octaves are on the dominant G#, which is the enharmonic equivalent to Aᵇ and therefore is the repeated quaver as in section A. A) A long flowing melody that rises and falls gently. Two distinct sections- the first introductory melody, followed by another melody which has calls and responses in a minor key. These phrases are joined with a small rising then falling melody and repeated. Left hand octaves are followed by arpeggios of chords/inversions of the chords. The first section is then

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