Structure
Introduction: This waltz begins at a vivace tempo, with a series of E minor arpeggios in the right hand, accompanied by dotted half note arpeggiated chords in the left hand. The arpeggios rise in pitch and volume to reach a climax in the ninth bar at the upper register of the keyboard.
Theme 1: At this point, the score indicates grazioso (in a graceful style), and a true waltz begins, with the melody still in the right hand, and the left-hand accompaniment in a steady, quarter note rhythm, with a staccato bass note followed by mid-range notes filling in the chords (with sustain pedal evening the texture).
Theme 2: This is followed by a second theme in E major to be played dolce e legato, and its harmony has a more chromatic texture. The first eight bars of its second part are a distinct G-sharp minor. After this, the first theme is recapitulated.
Theme 3: The first theme of this section is marked by long sustained notes in the right hand with the usual waltz rhythm continuing in the left hand.
Theme 4: The next section is a brief strident bridge in some combination of D-sharp and G-sharp minor, with the melody in the lower reaches of the left hand bass, and the accompaniment provided by solid chords in the right hand. After this somewhat jarring disturbance of the sweet calm, order is restored in a recapitulation of the third theme,
Coda: In the final section (coda), the first theme returns, but with a more forceful accompaniment, brought to a close first by a diminuendo (growing softer) arpeggio toward the lower end of the keyboard, followed by a series of four note chords from both hands, each further apart with the final chord fortissimo near the lower and higher ends of the keyboard, a demonstration of the physical power and range of the Pleyel pianos available to Chopin.
Read more about this topic: Waltz In E Minor (Chopin)
Famous quotes containing the word structure:
“Why does philosophy use concepts and why does faith use symbols if both try to express the same ultimate? The answer, of course, is that the relation to the ultimate is not the same in each case. The philosophical relation is in principle a detached description of the basic structure in which the ultimate manifests itself. The relation of faith is in principle an involved expression of concern about the meaning of the ultimate for the faithful.”
—Paul Tillich (1886–1965)
“I really do inhabit a system in which words are capable of shaking the entire structure of government, where words can prove mightier than ten military divisions.”
—Václav Havel (b. 1936)
“It is difficult even to choose the adjective
For this blank cold, this sadness without cause.
The great structure has become a minor house.
No turban walks across the lessened floors.
The greenhouse never so badly needed paint.”
—Wallace Stevens (1879–1955)