Prelude No. 1 in C Major by Frédéric Chopin
José Rodríguez Alvira
The prelude begins with an eight-measure phrase based on a simple harmonic progression:
The first four measures of the phrase have an ascending melodic motion, and the last four have a descending one. An ascending second motive (G-A) is repeated twice and then transported an ascending third in the fourth measure. In measure five, the motive transforms into a descending second:
The melodic motive appears as an inner voice that has been transformed through augmentation:
Using a 2/8 meter with triplets makes reading somewhat challenging:
Robert Ståhlbrand, piano. Courtesy of Piano Society
We can distinguish up to four voices in this dense musical texture:
The first four measures of the second phrase are identical to the first, but in measure 13, the ascending movement continues and the chromaticism increases:
Robert Ståhlbrand, piano. Courtesy of Piano Society
The ascending motion and chromaticism continue in the third phrase:
Robert Ståhlbrand, piano. Courtesy of Piano Society
Narcis Bonet suggests transcribing this prelude with a 6/16 time signature and changing to a 5/16 time signature for some measures following the stretto indication. Below, we present measures 17 to 24 of his transcription:
Transcription by Narcis Bonet
Narcis Bonet's article is available in Spanish, French and Catalan.
The prelude ends with the last phrase over a tonic pedal:
Robert Ståhlbrand, piano. Courtesy of Piano Society
Complete prelude:
Robert Ståhlbrand, piano. Courtesy of Piano Society
© 2019 José Rodríguez Alvira. Published by teoria.com
