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the G flat in Bar 69, E natural in Bar 97, etc.).īars 117-132: Closing theme – tonic and dominant seventh arpeggios in D flat major. Suspensions and appoggiaturas are used throughout this passage for added expressiveness (e.g. A diminished seventh chord (F – A flat – C flat – D) is used in Bar 87, 103, and 109-112. There is a dominant pedal in Bars 107-116, leading to a perfect cadence in Bars 116-117. Overall, I'd just encourage you to seek the bel canto lyricism in Chopin a bit more than the flash and dash.Bars 25-48: Theme 1 restated. Begins in B flat minor as before (Bars 25-36), but then modulates to F minor (dominant) instead of D flat major in Bars 37-48.īars 49-64: Theme 2, all in D flat major, with some use of the flattened sixth degree (B double flat) as part of a dominant minor ninth chord, or part of a chromatic scale.īars 65-117: Theme 3 (con anima). Begins in G flat major, then modulates to A flat major (Bars 73-80, making a sequence with Bars 65-72) and D flat major. I'd love to hear this after you spend some more time on it. (It's also one of those annoying things, in my experience, that can end up messed up long after you think you have it nailed down.) There are a lot of inner melodies to pull out in this section if you choose, but, yeah, it's hard.Īnd, obviously, things start to get very interesting where the video ends! (and the very last note is a famous SPLAT risk in performance.) You'll get there, but I would focus heavily on this section. just typing as I listen) is obviously quite difficult. That E major section that follows (I don't have score in front of me so can't give measure numbers or tempo marks reliably. The "alto" line is perhaps a bit too blurred. and make sure you CAN play them distinctly. (I know you've only been working on this a short time!) The mordents in the melody need to be expressive. You have decent technique, but the expression is just not quite there yet. That slower middle section really can be all glowing beauty and. (The second time this happens (before the slower middle section, was better.))
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make sure YOU and your rhythmic center are in charge and not your fingers. This happens heading into the end of the B section (the Db arpeggios in the LH, especially.) Overall, it's just rushing a bit. and the RH more singing, more cantabile, and, again, a bit more shape.īe careful of reducing some of this to bllrpp'd arpeggios. In the second section, again, careful of rushing and falling forward. That opening figure is quite difficult to shape, and I don't think you're quite there with it yet.
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make sure you are PRECISELY feeling the 123 123. 'No Stupid Questions' thread (twice/month)ĮPierre's weekly composition/improvisation challenge IMSLP provides access to free, public domain sheet music. is a great website to learn the fundamentals of music theory. commenting on someone's appearance), and the like, are not welcome and will be removed. Off-topic posts, spam, advertising, blog posts with little contentĪlso, please do not submit more than 3-4 posts per week, and you should not have more than 2 posts on the front page.Ĭomments that contain personal attacks, hate speech, trolling, unnecessarily derogatory or inflammatory remarks or inappropriate remarks (e.g.
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