Measures 13 to 25

These measures are a variation of measures 1 - 4. The same chords are used but the voice movement is much faster. This sort of diminution and an auxiliary diminished 7th of the V degree in measure 16 help create the climax in measure 18.

In the following example we compare measures 1 - 4 and measures 13 - 16. The lines show how the voice movement is accelerated in measures 13 - 16:

13_16

Measures 17 to 25 have some interesting chord progressions.

In measure 20 - 21, Chopin uses a deceptive cadence (V - VI) then adds a Bb to the C major chord. This note creates a C dominant 7th chord but the Bb is used as chromatic appoggiatura and resolves to a II degree chord.

In measure 23 a German augmented 6th chord is used with the augmented 6th in the bass. In many editions it appears spelled as a dominant 7th (C - E - G - Bb) just as the chord used in measure 21.

© 2001 José Rodríguez Alvira. Published by teoria.com


    
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