![]() Pay attention to new sharp and flat notes when moving from one key to another.Ī modulation can be used to change the mood of a piece. When composing a contrasting middle section, think of ways to vary dynamics, melodic material, time signature, instrumentation or key signature. The repeated A section could be played differently to help demonstrate the piece’s musical journey. It is important to think about how a repeated section can be reinterpreted in light of what has preceded it. Use ornamentation to decorate the melody - especially useful to implement in a solo.īy adding decoration to a melody shows variation in the repeating section. By understanding the effects of each may develop musicianship skills. This section is where the piece is exposed the most which flows with the whole prelude : starts off with some texture, increases in section B, and then fades out to the codetta.Some of the techniques found in Frédéric Chopin's Prelude No.15 can be transferred to other performances and composing. The last section of this piece can be seen as one of the most important sections too as finishes the piece. Ritenuto used at far end to bring the piece to a perfect end.Long crotchet descending notes in forte are heard making the piece exposed adding to the intensity and delicacy.finished half short to go into the codetta which is basically a short coda.Different ornaments with more decoration and rebarto (virtuosi).Same tune from the first section A is repeated in this section.Section A again (this time a little different) However, if the pianist gets it right, it will link perfectly smoothly straight back to the key of D flat major and section A. Now, this bridge for a pianist is an absolute killer (in my opinion!) and is by far the hardest part of the pieece. Shorter than Section A and B b about half.Total different idea compared to section A or B.This section of the Prelude links section B back to section A. This section is also quite expressive through the dynamics mainly: how the crescendo builds tension and almost explodes as it hits the chord of E and B. Left hand slurs and have crochet notes that rise adding to the build-up.Crescendos being used to build tension when it is released as the dynamics go fortissimo.Key changes to C sharp minor: repetitive A flat goes to a G sharp note.This represents the raindrop motive making it sound like the raindrops are falling. The raindrop can also be heard with the first three notes played in this piece: F, D flat and A flat. As a pianist that can play this piece, this section in some ways is the most expressive with the main use of rebarto and graduate crescendos (to mezzo piano). Section A is a very delicate section which the whole time i in piano (soft). The use of spreading arpeggios in the left hand.Has graceful ornamentations (decorations) which also use rebarto (slows down tempo because decorations are expressive).Uses the pedal to product lots of subtle pedalling effects. ![]()
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