Its striking beginning, arising harmonic sequence left hanging on a high dominant seventh, aside the end in B minor, is encompassed by a "galloping" rhythm, emphasizing on the melodic line on the first and third beats of each half-measure outlines of the fifth through eighth level of a harmonic minor scale.
The overall melody entrenched in the minor tonic have the contribution of the mood in this primary section being dark. More successful second theme in B major, returning twice in the movement's A B A B A form, appears moderately suddenly at the conclusion of the first eventually rising during fleet fingered runs over a left hand melody. It tumbles back to a dramatic interpretation of the main theme in both of its appearance. The third movement was written around a funeral march two years before it was finished and resulted in being the third of the four-movement cycle. Chopin was more interested in the funeral march more than any other composer and inserted the fundamentals of the funeral march into his other work of art.
Both the C-minor prologue from OP.28 and the slow introduction to the F minor fantasy, op 49 are frank funeral marches. The nocturnal OP 48 no1 and OP55NO1are clearly marked by the trait of the funeral marches. The slow movement follows the scherzo in the B flat minor sonata. The sonata with a Marcia's funebre as one of its movement of funeral march was Chopin's favorite. He played it, taught it and scrutinized its configuration for his apprentice more than he did any other of Beethoven sonata.
In this third movement funeral March is complete with the lento interlude in D flat major. When the Chopin's funeral march is actually played in a funeral march, only the part in B flat minor is used. This funeral march made use of in brass as described has become a popular background such as in the video games. It was also used at the state funeral of President Kennedy, funeral of soviet leaders and Chopin's funeral.
this is the fourth movement of the four cycle movements by Chopin also referred to the finale. It is the most magnificent piece of work that Chopin ever came up with. In this movement, it involves the use of both hands, which come in parallel octaves. This can be attested by his OP28 preface in E flat minor.
But the prelude monophonic line actually forms a melody with a broken chord accompaniment base, while the sonata finale consists of a zigzag flamboyant single line. The texture is not idiomatic for keyboard .It sounds more like a piece for an unaccompanied cello. Chopin was well versed with the cello repertoire. In Warsaw he was captivated by the playing of Joseph mark whom he devoted his introduction and pnonaise brilliante for cello and piano OP3.
The resemblance of its nature to that of unaccompanied cello and the elaborate structure of the melodic line point to Bachs suite for solo cello as one possible source of inspiration. More particularly the preludes from bachs suites in D major for solo cello is similar pertnum mobile of four quaver triplet per bar and one of its most frequency repeated object bears s striking resemblance to the primary theme from the first movement of the Chopin's sonata. A descending hexachord between the third and fifth scale is also a very important figure in the basch preface.
Hexachord in either quavers extension is one of the principal motives of the fourth movement. It also involves the improvisory monadic lines where by these parallels