![]() ![]() The overall form is a binary structure, where both A and B sections equate to four-bar phrases. Thus, the Chopin nocturnes can easily be considered as historical landmarks of compositional masterpieces, and Chopin himself as the father of the nocturne in its fully-realized form.īefore delving into the analysis, it is necessary to establish a basic outline of Op. These unique melodic tendencies, according to Frank Liszt, are “poetic” in nature and sing “not only the harmonies which are the source of our most ineffable delights, but likewise the restless, agitating bewilderment to which they often give rise” this emotional density is what Liszt believes could be realized only by a “genius” who saw the potential of “the movement and ardour” inherent within the Field nocturnes (54). Victor Lederer describes how Chopin incorporated those operatic qualities in his nocturnes: “Chopin’s profound sympathy with the Italian operatic style allowed him to transfer its large melodic spans and potent emotional content to the piano, which cannot sing but for which Chopin devised a sound that evokes a voice” (54). Chopin improved upon the foundations laid by Field through his distinct “dreamy bel canto style” melodies inspired by the “large melodic spans and potent emotional content” of the Bellini operas (173). 2) is often considered one of his best nocturnes, as well as a far superior follow-up to those of John Fields, an Irish composer and pianist who first realized the concept of the nocturne in 1814 along with its common characteristics: “a somewhat melancholy style, with an expressive, dreamy melody over broken-chord accompaniment” (Berkeley 173). Published in 1833 and dedicated to French pianist and teacher Camilla Pleyel, Nocturne in E flat major (Op. ![]() Check out this example of “a tempo” after a rit.Analysis of Frederic Chopin’s Op. in Beethoven’s Fur Elise.Ī tempo can be written after a song is supposed to speed up as well (often written as accelerando). Tempo is a term you may hear in other musical contexts as well.Įither way, simply resume the speed you were at in the song before you changed the speed with a ritard or an accelerando. It’s a common musical term, so let’s take a closer look at it. Tempo, meaning “time” in Italian, tells you how fast or slow a song is supposed to be played. You will often find a tempo written at the beginning of a piece of music at the top left, right at your first measure. If tempos change, a new tempo will be written above the measure in which it should be played. In the original composition of Fur Elise, Beethoven sets a tempo that is not typically seen. So although you will mostly see the same tempos for most songs, the composer is at liberty to describe a tempo in however he/she desires. In this case, Beethoven sets the tempo as a “poco moto” meaning “little bike”. ![]() This not only helps the player to know how fast to play, it also sets the tone for the song. You may see any number of different tempo descriptions written, but it is always important to pay attention for it will help you convey the correct feeling and tempo for the song.Ī simple way to tell how fast or slow you should play a song is by comparing it to walking or running. ![]() Since we all are pretty well aware of speeds when it comes to walking or running, you can think of the beats per minute in comparison to this. ![]()
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