Chopin – p.326

1. Chopin – p.326 Prelude, Op. 28, No. 4

2. Growth • 1. Provide a diagram of the work showing with • beginning measure numbers: • Large Sections • Subsections • Phrases with cadences • Keys/pitch centers beginning each subsection • 2. Discuss the growth of the work leading from the • beginning to the most intense moment. • a. for each phrase (for works less than 50 • measures) orsubsection (for works longer • than 50 measures) • b. for each section • c. for the work as a whole • Melodic Growth, Harmonic, and Intensity for • each phrase or subsection. • What elements are most important in creating • this sense of growth? • 3. Draw a diagram showing the growth within each • large section and for the work as a whole. • 4. Summarize comments based upon your growth • diagram.

3. YouTube - Sergio Tiempo plays Chopin Prelude No. 4.flv Binary form – two sections P P1 || 1 12 | 13 25|| Phrases – 4 bar phrases with anacruses P P1 || a 5 a1 9 b | 13 a 17 c 21 b1 23-24-25 || PC PC HC PC Dec. PAC V7/iv vii7 V7 o7/V V7-VI V7/N-V-I or ø7/VI Keys: only one, e minor

4. a, a1 second a

5. b b1

6. c phrase G --------------------------------- * --------------------- F# F# E --------------- * ---------------- * ------ F# D# --------------------- D C --------- B 4 -3 retard. o7 m6 7 - 6 Directed motion creating intensity

7. Discuss the growth of the work leading from the beginning to the most intense moment.a. for each phrase (there are less than 50 measures, so phrases are discussed) –Melodic GrowthHarmonic GrowthIntense Moment a, a1 phrases – Melodic growth 1. Static melodic line, rise from B3-B4 then only neighbor tones C5. 2. Repeated slow rhythmic/melodic motive of dotted half-quarter. Conclusion – little melodic growth; meditative, quiet Harmonic growth 1. Initial implication of motion in accompaniment – use of i6 to begin. 2. Slow growth throughout phrase with minimal changes to repeated chords Only one part of the chord changes at a time 3. Mutation and suspension are the primary methods of chord change/connection Most intense moment: 1. ms. 3: third repetition of the dominant pitch, irreg. resolution of o7/III to V7/VI, then o7/iv – V7/iv progressive cadence 2. ms. 3 implication is for a harmonic closure of some sort; there is none. 3. ms. 7: third repetition of subdominant pitch, irreg. resolution of V7/III to mutated vii7, moving to ø7/VI and then o7/iv… 4. ms. 12: anacrusis figure uses a mutated D natural (v instead of V) and the first triplet pattern to begin the second section’s a phrase. 5. ms. 16: motion intensifies in ms. 15 as compared to ms. 3, ending on V7/iv, but then cadencing to i7 – o7/V which does not resolve to V9 until ms. 17.

8. b, b1 phrases Melodic Growth • begins with the most dramatic motion, leading from the accented G#4 beginning the • phrase to a decoration of the pitch A4, then falling to F#4 (the next expected • pitch in the descending line). • 2. growth is a continuation of the motion from the a phrases toward tonic (G# -- F#). • rhythmic/melodic motives of a, a1 are repeated, but new motion is added at the • beginning and the end of the b phrase. • b1 begins with an elaboration of the dramatic motion of b, reaching the highest and • lowest pitches of the Prelude to this point. Harmonic growth: 1. the b phrase is a dominant prolongation. Though there is more melodic activity, there is less harmonic motion (iv6 – V7) with the iv6 acting as a pre-dominant neighbor to the V7. 2. The harmonic stasis effectively brings the growth process to a partial closure (HC). Most intense moment: 1. there are two intense moments, one at the beginning of the phrase, and one at the end. a. ms.8-9 uses both a suspension (accompaniment 7-6) and a retardation (melody #3-4) to move to the decorated iv6. b. ms. 12 uses an accented passing tone (G) and an accented appoggiatura (C) to decorate the V7 cadence chord.

9. c phrase Melodic Growth 1. ms. 16 is an intensified version of ms. 4, with the A# (Bb) occurring two beats earlier after an anticipation as the cadence pitch of phrase a, and then continued with a decorated elision with phrase c. The term ‘stretto’ here means ‘intense’, and the elision is an anacrusis for mw. 17, the highest point and most intense moment of the prelude. 2. phrase c diminishes through a sequence showing interval contraction in mm. 17-18, ending on the metrically displaced and diminuted beginning of phrase b1 in ms. 18. Harmonic Growth 1. ms. 16 is a preparation for a strong V9 in ms. 18: it moves from o7/V on beat 1½-2 to iiø7, then to V9 i6 iv and finally V (minus the third) with an embedded tonic pedal tone. 2. the V9 begins a long prolongation of V leading to the final cadence. Most intense moment Ms. 16-17 (ms. 15¾ is the Golden Section…) (see slide six)

10. YouTube - chopin prelude op28 no 4 by maestro Paik Kun Woo.flv for each section… melodic growth: P moves melodically down from 5 (B4) to 2 (F#) with the first two phrases prolonging one pitch, and the third phrase more active, moving through two pitches. P1 begins on 5 and moves to #4. Then motion with octave displacement occurs from 3 to 2, finally moving melodically to 1 in ms. 21. Harmonic growth: P begins with instability on i6 and moves to a prolongation of V (ms. 9-12) with descending step motion in the bass. P1 begins with instability on V7/V to V9 which is prolonged until the final cadence chord.

11. for the work as a whole melodic growth: The work begins on 5 and moves down to 2, but then an interruption occurs with the varied repetition, going back to 3 and then resolving to 1 (with octave displacements). Harmonic growth: From an unstable beginning on i6, the Prelude grows to a dominant prolongation . It ‘backs up’ to the i6 and grows to the most intense moment, again a prolongation of V which finally resolves to the only PAC in the Prelude, at the end. What elements are most important in creating this sense of growth? 1. motion from i6 to V 2. addition of melodic structural pitches from phrase to phrase (i.e. 5 –> 4 –> 3 –> 2 ) 3. constant prolongations and embellishments of V, anticipating the eventual PAC.

12. Draw a diagram showing the growth within each large section and for the work as a whole. • || 1 ----------------------9-10------12 || 13 ----------------- 17 --------------21 – 23 – 24-25 || • e: i ----------------------V ------------- i ------------------ V ------------------------------ V i • ------------ VI V7/N i V i • Anticipation – motion – partial arrival || Intensifiedanticipation– resolution andarrival YouTube - Sergio Tiempo plays Chopin Prelude No. 4.flv • Summarize comments based upon your growth diagram. • Binary form is clearly created through the parameter of growth. • 1. beginning with anticipation (i6 implies some sort of resolution to stability) • 2. moving to a long prolongation of V which is not resolved • 3. beginning again in a like manner (i6) causes an ‘interruption’ in the growth to resolution. • Constant motion from one chord to another with only partial complete voice leading intensifies the expectation for resolution. • Arrival at the most intense moment at or near the Golden Section balances the shape of the whole and the anticipation from the beginning. • Resolving the intensity through another dominant prolongation satisfies the anticipation and creates a very effective resolution.