Prelude No.20 in C minor Op.28 by Chopin - Harmonic Analysis
Bar 1
· Key-defining progression of i-iv-V-i
· Tonic chords are pure
· Subdominant and dominant are 7ths
· The Eb transfers from I to IV and continues into the start of V as an augmented triad / as a kind of suspension also
· Momentary augmented triad on the third beat of the first bar
· The F as part of the chord V7 continues a dissonant sound
Bar 2
The Neapolitan chord here is heard as chord IV of VI
· Melody is sequenced on the submediant (6th) level
· Harmony moves away from C and into Ab major. The whole bar could be thought of as I-IV-V7-I in Ab major
· Bar 2, chord 3 is Eb7
· C in chord 3 is a passing tone
· Db in the second bar is considered a normal passing tone if under the Ab major tonality
Bar 3
· Focus is in C minor again
· Bar 3, chord 1 is G7
· Second chord is not c but C7 or V7/iv
· Bar 3, chord 3 has an appoggiatura
Bar 4
· Drive is toward chord V, a half cadence that ends the entire 4-bar span
Bar 5
· The melody is on top and the harmonies are subtle unless bringing out a dissonance
· This line starts by quoting the opening motive, as if the true melodic line has been shifted to this position
· Bar 5, chord I is i minor
· Bar 5, chord 2 is VI
· Beat 3 presents two sonorities which distort the G chord rather than functioning as triads
· Beat 3 aims at V with the Ab as a suspended note, and then a balancing lower half step is sounded through F#
· Beat 4 has the arrival of G but with v in its minor form (passing chord)
Bar 6
· Bar 6, beat 2 is a very colourful French 6th on Ab
· Bar 6, beat 3 where the goal for the bass motion is V and lingers here onto beat 4
· Bar 6, beat 4 is V7
Bar 7
· The opening progression is very subtly included here
Bar 8
The Neapolitan chord here is heard clearly as N (root position)
· Beat 1, chord 1 is VI is used to precede the Neapolitan chord
· The Ab and Db chords quote bar 2
· Beats 3 and 4 create a N-V7-i cadence
· D natural is used in place of Db. The end of the piece puts a D natural in place of Db for a proper arrival back to C minor
Bars 9 -12
· This is an echo phrase with the same material
Bar 13
· Punctuating final chord is a simple coda
It's No. 24 in D Minor.
Chopin's Prelude (E-Minor) is his 4th Prelude, and also called "suffocation" by a 19th century composer. It was written for the piano (piano solo). It has since been transcribed into orchestral pieces, full choir pieces, and etc.
Chopin composed 26 finished Preludes for solo piano and one was left unfinished. Chopin wrote 24 Preludes for solo piano, Op.28. One in each key corresponding to the circle of 5th's; no doubt, an homage to Bach's "Well Tempered Clavier", a collection of two books containing preludes and fugues in all modulations. Chopin also composed a 25th prelude, Opus45 in C# Minor and a 26th prelude WoO in A-flat Major. The latter being elementary in composition. Recently, a fragment was found of a Chopin prelude in the unusual key of E-flat Minor.
There are no sharps in the key signature, but in the harmonic minor there is a G#.
Apparently, in this prelude Chopin was trying to evoke the sound of drumming rain. The soft opening leads into a second, very dramatic section which sounds like a violent storm; this then recedes back to the gentle drumming of rain like in the first section. The repeated Ab in the left hand supposedly evokes pattering raindrops.
Jazz piano player Deanna Witkowski has recorded Chopin\'s Prelude number 4 in E Minor as well as other Chopin works.
It's No. 24 in D Minor.
Chopin's Prelude (E-Minor) is his 4th Prelude, and also called "suffocation" by a 19th century composer. It was written for the piano (piano solo). It has since been transcribed into orchestral pieces, full choir pieces, and etc.
The character, Lucian Gray, plays Chopin's Prelude No 8 in F Sharp Minor in the novel 'Poets Authors Lovers' by Mira Tudor.
The "Prelude in E Minor" by Frédéric Chopin is primarily composed in a homophonic texture. This means that it features a clear melody accompanied by harmonic support, allowing the expressive qualities of the melody to stand out. The left hand typically provides the harmonic foundation while the right hand plays the lyrical melody.
Chopin composed 26 finished Preludes for solo piano and one was left unfinished. Chopin wrote 24 Preludes for solo piano, Op.28. One in each key corresponding to the circle of 5th's; no doubt, an homage to Bach's "Well Tempered Clavier", a collection of two books containing preludes and fugues in all modulations. Chopin also composed a 25th prelude, Opus45 in C# Minor and a 26th prelude WoO in A-flat Major. The latter being elementary in composition. Recently, a fragment was found of a Chopin prelude in the unusual key of E-flat Minor.
The harmonic minor scale is in the minor mode.
a harmonic minor
Yes, when the melodic minor scale descends, it is the same as the harmonic minor scale.
A minor harmonic progression typically includes the use of the minor scale, minor chords, and the harmonic minor scale. Common patterns found in minor harmonic progressions include the use of the i, iv, and V chords, as well as the use of leading tones to create tension and resolution.
Prelude in G Minor was made in 1901 by Sergei (not Sergej and not Rachmoninov) Rachmoninoff.
The main difference between a minor scale and a harmonic minor scale is that the harmonic minor scale has a raised seventh note compared to the natural minor scale. This alteration creates a unique sound and adds tension to the music.