Excerpt+25

= Track 25: Chopin: ‘Prelude in E minor’ ( 3:00) =

This piece uses limited melodic material. Describe the melody, and then discuss how harmony interacts with it to create a complete piece.

media type="file" key="25 Track 25.m4a" align="center" width="300" height="50" Sariah Xu Melody in this piece is simple, static (except in the turnaround of sections when the melody reaches a climatic point in which the contour expands briefly to another secti0n/tonal centre). Static sense of melody created due to the nature of the piano, sound decays immediately, therefore a pianist cannot sustain the dotted crotchet after the crotchet of the melody. Therefore the harmony and rhythm of the left hand is equally important in the creation of this piece to provide direction, and motivate the changes in pitch and tonality in the melody. The melody: Consists of repeated descending min.2nd, transits to desc.maj.2nd, desc min.2nd, to desc. min.3rd. During the 'turnaround' sections contour expands and notes progress step-wise, rise and fall. Rhythm is consistent in the left hand, progressing quavers all throughtout the piece, with slight rubato at times. Harmony- usually descends, and returns to starting point everytime when min.2nd is repeated. Harmonic change is slight, subtle, but effective, giving a sense of constant progression, a change of one note down a semitone in a chord can completely alter the tonality, and sometimes provide a brief counter -melody to the melody in the right hand. David Soo E minor and melody is very simple. However, Chopin has decided to create interest by using harmony and rhythm to create interest.
 * When the work builds to a climax- faster dotted rhythms are used and the contour extends. The contour becomes quite angular.
 * Aside from the dotted rhythm anacrusis, all the contour descends and uses a small range. This tranquility is interrupted by the constant quaver movement from the LH
 * As the melody descends through repetition, Chopin has used chromaticism, seen in the B flat early in the work to signal some change harmonically. He heightens this through extensive ornamentation such as the turn and the trill
 * The LH creates interest rhythmically by using rubato over the last 2 quavers of the 3/4 bar. The performer has also used it to feel and enforce the harmonic nuances such as through changing one/two notes in the LH.
 * Towards the end, notes become drawn in and nothing can be heard, resulting in a peaceful V7-I, where the melody finally moves up a semitone.
 * As each note changes in the LH, there is always a sense of pulling back. However when chords are repeated in the LH, they become louder, and there is always a sense of forward motion.

The piece is for a solo piano with the melody in the right hand and harmony in the left hand. Whilst the melody is very simplistic to create a calm, soothing sound, it is the left hand that has an important role in ‘completing’ the piece. The melody commences with an octave leap in the upper register. It then descends down the natural minor scale slowly, using minim note values. The rhythms in the melodic line are very simplistic and there is no syncopation. As the piece builds in intensity, the rhythms in the melodic line become shorter quaver rhythms and exaggerate a driving feel. The contour is fairly angular in a range of about two octaves and consists of small leaps and scalic movement. The articulations are quite often legato by using the piano pedal for a dreamier, muffled quality. This tranquil atmosphere is emphasised through the use of turns that give the strict rhythmic quality more liberty. The harmony and rhythm are important in keeping the piece interesting because of the limited melodic material. The rhythm has importance in either driving the piece forward or giving it a free feeling. At the beginning, the left hand plays continuous quavers (notate) against the static melody. It adds to the tranquil atmosphere by using much rubato. Towards the end in the lead-up to the final cadence, the rhythms become long and drawn out and a clear pulse cannot be heard. Here, the use of pauses and silence help to create a dreamy rhythmic quality. The harmony has a key role in keeping the minor tonality consistent. During running quavers, it plays minor triads to support the melodic line. The articulations and dynamics exaggerate the climax in the piece. From the dreamy start, they swell to a more forceful quality. //**Response by Leighton H. Triplow, 2010 **//
 * Leighton H. Triplow **