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  • GCSE MUSIC REVISION West Side Story

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    96 vues2 pages
    F. Chopin's Piano Prelude No. 15 in D flat major, Op. 28 follows a loose ternary form. Section A is in Db major for 12 bars, followed by a longer section B modulating to the tonic minor of Cb minor for 25 bars. Section A briefly returns for 3 bars in Db major before a 4 bar codetta concludes the piece. The work features a diatonic melody over simple chordal accompaniment in Section A, with thicker chords and a fuller texture in Section B driven by relentless left hand octaves. Dynamics range from piano to fortissimo between the sections.

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    for exam board edexcel

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    F. Chopin's Piano Prelude No. 15 in D flat major, Op. 28 follows a loose ternary form. Section A is in Db major for 12 bars, followed by a longer section B modulating to the tonic minor of Cb minor for 25 bars. Section A briefly returns for 3 bars in Db major before a 4 bar codetta concludes the piece. The work features a diatonic melody over simple chordal accompaniment in Section A, with thicker chords and a fuller texture in Section B driven by relentless left hand octaves. Dynamics range from piano to fortissimo between the sections.

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    96 vues2 pages

    GCSE MUSIC REVISION West Side Story

    Transféré par

    Scribd497
    F. Chopin's Piano Prelude No. 15 in D flat major, Op. 28 follows a loose ternary form. Section A is in Db major for 12 bars, followed by a longer section B modulating to the tonic minor of Cb minor for 25 bars. Section A briefly returns for 3 bars in Db major before a 4 bar codetta concludes the piece. The work features a diatonic melody over simple chordal accompaniment in Section A, with thicker chords and a fuller texture in Section B driven by relentless left hand octaves. Dynamics range from piano to fortissimo between the sections.

    Droits d'auteur :

    Attribution Non-Commercial (BY-NC)
    Téléchargez comme DOC, PDF, TXT ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 2

    F. Chopin- Piano Prelude No. 15 in D flat major, Op. 28 (1838 !

    h"thm# $etre# %empo -no tempo markings throughout but some discrepancies regarding who plays- allows for rubato -metre is in common time- 4/4 -even rhythms %onalit" and &armon" -Section A and Codetta in Db major -Section modulates to the to the tonic minor- C! minor " #nharmonic $ey change -%epeated &uaver Abs in Section A change to '!s at the start of section enharmonic -harmonic support to the melody( doubling in si)ths at bars *-4+ ,armony is simple diatonic using mainly chords - and ./+ $elod" -diatonic mainly chords - and ./ -starts off with long sustained phrases of the falling raindrop motif" 0-Db-Ab -Section A" right hand has melody line throughout in regular 4 bar phrases1 e)cept bars 23-2/ and 24-25 which are two bar phrases -Section " melodic interest in left hand with relentless '!6s in right hand 7bars *489: -Codetta 7bars 42-45: contains as the * bar monophonic phrase which leads to a 3 bar chordal passage to bring the piece to a very &uiet conclusion %e'ture -Section A" homophonic( clearly melody and accompaniment -sometimes thickens- use of chords adds notes to create thicker chords -Section " thicker with a fuller and more robust sound with chords in left hand and right hand too ;melody and accompaniment< -Section A repeat- monophonic * bars and ornament at bar /51 added grace notes -Codetta" melody and accompaniment with repeated Ab6s in the middle D"nami() -Section A" lower range of dynamics to begin with( mostly piano -crescendos and diminuendos with phrasing -Section has a much larger range reaching up to fortissimo -diminuendo bar /5 to =smor>ando? -Codetta forte on top b -=mini caden>a? bar 42-48 ends in pianissimo descending in volume and pitch

    %im*re and Other !e)our(e) -only piano used -piano development" sound and tone improved considerably to give the instrument more power over an increased dynamic spectrum -vital for e)pressing the e)treme dynamic ranges -number of notes increased in both treble and bass registers to / octaves1 giving greater pitch range for musical e)pression

    -felt replaced leather on the hammers producing a more rounded and fuller tone +tru(ture -loosely in ternary form and falls into three &uite unbalanced sections -Section A 72-*/: Db major " */ bars -Section 7*4-/9: C! minor 7tonic minor: " 4 /bars -Section A 7/9-42: Db major " 3 bars -Codetta 7bars 42-45: Db major " 4 bars -Section however is much longer and when section A returns it is much shorter piano

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