Prelude No. 1 in C Major by Frédéric Chopin
José Rodríguez Alvira
The prelude starts with an eight measures phrase based on a simple harmonic progression:
The first four measures of the phrase have an ascending melodic motion while the last four measures have a descending one. A twice repeated ascending second motive (G-A) is transported an ascending third in the fourth measure. In measure 5, the motive transforms into a descending second:
The melodic motive appears as an inner voice transformed by augmentation:
The use of a 2/8 meter with triplets makes it somewhat challenging to read:
Robert Ståhlbrand, piano. Courtesy of Piano Society
We find up to 4 voices in this dense musical texture:
The first four measures of the second phrase are identical to those of the first one, but on measure 13, the ascending movement continue and the chromatism increases:
Robert Ståhlbrand, piano. Courtesy of Piano Society
The ascending motion and chromatism continues in the third phrase:
Robert Ståhlbrand, piano. Courtesy of Piano Society
Narcis Bonet suggests transcribing this prelude using a 6/16 time signature changing to 5/16 in some measures following the Stretto indication. Here we show measures 17 to 24 of his transcription:
Transcription by Narcis Bonet
Narcis Bonet's article is available in Spanish, French and Catalan.
The last phrase ends the prelude 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
