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. ...Show more