Chopin Style

Frederic Chopin

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One of the best composers far ... No one technique is comparable in composition, but especially in this very difficult thing to explain, that passion in each measure.

Hello, I've been working for months on a project that I started myself, I have 15 years, and I want to be a composer. I play the piano, and I am learning music for the 18 to go to Poland to study composition at the conservatory. I also compose, but I can not say I'm chopin, I still need to learn a lot.

For the few people interested in the music of this genius, here I leave an aid to compose in his style.

Finally a small personal reflection: It is very easy to make a mathematical calculation, but creating a good bar of music is the biggest challenge that may exist.

Chopin's musical style

1) The secret of the composition is always varying ideas and use the full version until the desired phrase.

For example if we are "stuck" in a sentence and do not know how we can continue to take a paper and write in different ways to go, all different, and choose the best stay, this mode is called discard.

2) You can create all compositional imaginable. This means that the music should not always be all the time "equal", for example, in the treble clef, the melody and the bass clef, the bass note first and then the chord. But there are a million ways to write the music infinite, that is not tedious, a very clear example would be:

Rondo op 1, Frederic Chopin:

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In the first four bars, marked in red, there is a way to express the melody totally different from the blue. In red is shown in octaves, and in blue is shown as above said, melody and bass / chord. Then this changed to not be so tedious to hear the whole piece as:

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The blue part is maintained until at one point back to the red form, similar to the first but a different tune. That's when then comes the green. Totally changes the way of the melody and bass, you can see that is totally different from the previous two. That is what Chopin wanted, that the piece is not always equal to or tedious and for this there are a lot more resources, because as can be seen still in the same tone. Then if I changed my tone, but being in the same there are many resources that one can invent, to continue the work.

3) The wording and "cantabile" are the key elements and features the music of Chopin. It means that the melody should be sung to.

Another key aspect is the use of rubato is very characteristic of this composer: reserved for rubato melody, a melody understood as a focus of attention, which is developed to support independence.

4) In particular Chopin is the jump from seventh. Up or down. But he never addresses this in the tonic but generates a sentence. This jump can be 7 but two octaves as in the last example and also of the ninth, and so on.

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Nocturne in G minor. Sib resolved in F major.

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5) Also chromates. Before returning to the tonic in the fifth grade in this example:

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And in the game in a note with others nearby.

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6) also notes quickly repeated to stress. This is characteristic of his style.

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7) Sometimes when in fifth grade may repeat the phrase twice. One ending in a major key and followed that one ending in a minor key.

8) always adds Chopin passing notes so that the sound is not so square. It is very important for the melody notes using pitch

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9) The style of Chopin has many such cells, are very characteristic of Polish folk music, the mazurka etc:

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10) Chopin is generally not too serious in harmony. No more than 2 octaves below middle C, but there are times when you miss this. Also note that to achieve the fifth grade is the only one who leaves under going more serious than the tonic, the other levels located above the low than the tonic.

11) It further notes on the same note chromatic down several times starting from the eighth. This is called a pedal note or backward from the top. Also do not always have to be chromatic notes may be scales and so on.

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12) The Southeast Mazur traditional dance (dance three times (three quarters) with accents in the melody in the second and third time) is characterized by its passage slipped, dotted rhythm, this way of composing is found in his waltzes, songs, Concerto in F minor Fantasy no.13 and in his 58 mazurkas.

13) According decreased very characteristic of many compositions by Chopin. It gives a touch harmonic. Resolved in the major key of the same chord.

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14) The structures of the concerts of Chopin followed the example of the concerts in the style of Jan Ladislav Dussek, Johann Nepomuk Hummel, who was familiar with. He was interested in the dialogue between the instruments of Beethoven, the orchestra and soloist in an interweaving of voices as did Weber. An important feature is the display of expressive and technical skills of the soloist in the concerts of Chopin.

The first movement of Concerto in E minor has three themes that are introduced by the orchestra. The piano plays the first theme (Compass 139), followed by the second lyrical theme (Compass 155), accompanied by the main subject of the first theme in counterpoint to the bass.

15) adds a lot of Chopin and chromatic passing notes when you have to develop a theme such as the night op 9 no 1.

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16) As in the compositions can be used passing notes can also be used in line-of-way.

It can hold a single note with his right hand and change chords with the left., Going through different and vice versa, with the note hanging on the left.They can also be suspended two or more notes.

17) scales can be made more than one note at a time, eg triads or two notes at once ..

18) Use different low with the same chord. Or the same bass with different chords, for example the low sun, with the chord G minor and C minor. It is a resource if there is no time or space can be used throughout the work.

19) If you want to write chromatic chords can be used for other investments that they are close to the line of where you are.

20) You can sometimes carry the same sentence to another pitch, this would be like to repeat but a little more acute. For example: if you are in C minor you can play the same phrase in F minor then. Look rondo op 1.

21) Everything can be done in a composition the most important thing to remember is that although it is absurd to think that something can become a beautiful thing if we put it together properly.

22) Finish an idea with this cell gives a sense of finished. This pattern is seen in many works of Bach, and in addition to the Chopin rondo op 1.

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23) can also be used without the fast arpeggiated chords in order not to be so repetitive.

24) In counterpoint Chopin there is something hidden in the fast parts with the two inner voices. Sometimes the outer voices are contrary motion, a scale going up and one down.

25) To the beginning of the work anacrúsicos eg if you can touch and hold one note bass and playing follow the note as in the beginning of the mazurka op 6 no 1 by Chopin.

26) Sometimes, to move from one topic to an issue b Chopin does so through a chromatic passing note. So when the topic ends up leaving the last note of a pitch distance of the main note of the item b to pass through a chromatic note. Look mazurka op 6 no 2.

27) open Chroma: Very characteristic of the romance and the music of Chopin.

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There has to be whether the eighth or it can be for other periods. Waltz op 64 no 1.

28) Chopin studies are rich in harmony and can be used to learn.

Observe study op 10 no 11.

29) is very characteristic of romanticism again play a chord and change a few notes of the chord chromatically or simple mind moving them to give a sense of augmentation or others. You can also start a nursing increased by one as in the beginning of the ballad no 3.

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30) Also in addition to changing some other remedy would be to move notes chromatic harmony. Waltz op 34 no 1.

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31) These jumps are very characteristic of Chopin when he wants to give him strength:

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32) Cadence with progression: Very characteristic in Chopin.

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33) chromatics in the bass: the other notes are the same.

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34) Ballade no 3.

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Very characteristic progression in many compositions of Chopin.

Grace notes in the bass if and re, progression VI - I

35) The cantabile of Chopin demonstrates its chromatic grace notes that give it its melodic style.

36) As melodic resource can be used with the following notes of the chord and chromatic inner voice in the upper voice: The notes of the chord are marked.

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37) In this cadence Chopin opens the dominant chord and then resolves sounds different because the tonic chord softer. These arpeggios are characteristic of him.

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38) A resource that Chopin used to finish a work is repeated many times the same bar with the same low. This gives a feeling as the sound goes away, so this indicated perdendosi and is getting softer. Mazurka op 24 no 3.

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39) Chopin sometimes uses very close notes as a pedal note in the mazurkas.

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40) His mazurkas are characterized by a small section-chromatic harmonica in some bars.

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41) Here an example of how often uses the same chord in the bass, but with different notes in the upper voice. This does not last long, but it would be very monotonous.

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42) A resource for our membership will add a scale it would be faster at some point, because the fast parts again draw the attention of the listener.

All these things have been commonplace in Western music since.....forever.

Yet there's always some new, individual twist to them. Just like any language, with estabilished letters, grammars and sentence-building rules, yet with a freedom to play with them in creative ways.

Yet there's always some new, individual twist to them. Just like any language, with estabilished letters, grammars and sentence-building rules, yet with a freedom to play with them in creative ways.

The point is that none of those are particular to Chopin's style.

The point is that none of those are particular to Chopin's style.

Of course. Only that Chopin managed to rework them into a language of his own. Otherwise, we could all become Chopins by following these guidelines.

For the few people interested in the music of this genius, here I leave an aid to compose in his style.

Finally a small personal reflection: It is very easy to make a mathematical calculation, but creating a good bar of music is the biggest challenge that may exist.

This may or may not help to compose in a Chopinesque style, which is in fact very possible (i.e. Tchaikovksy, Glazunov, among others, wrote pieces imitating Chopin's peculiar style). But I guess you can't turn into Chopin Reloaded just like that.