形式和设计的叙事曲
上述表表明,色调现实形式不同于实际的经典模式尽管它维护本质。而是宣叙调,那不勒斯,旨在创建和谐主题即主题II方法更多的古典形式继续Bb主要的关键,最后突然移动到第七利用Eb专业。第三和第四个出现替补显然看出肖邦实际上偏离了古典形式。总之可以说,肖邦显然已经保持对称主题和色调的形式。
至关重要的争论关于G小调奏鸣曲形式叙事曲是否适应或他们是否代表独特性在他们自己的方法。然而它可以认为他的所有Ballades可以分析的形式单一的形式模型。为了说明这一点,Ballades需要三个音乐结构。它们是:
·声明的主题
·主题的转换
·决议
因为它是不可能确定肖邦认为创作叙事曲时,可以认为,肖邦用于三种形式,因为他们工作时是非常常见的文学和民间歌谣。
肖邦的叙事曲看到没有任何所谓的引入可以看作一种音乐形式与所有上述三个方面。
另一项研究表明,G小调奏鸣曲表单元素的叙事曲表示目前主要专题小组。
Form and Design of the Ballade
The aforesaid table indicates that the tonal reality form is different from actual classical mode albeit it maintains the essence. It is rather recitative, with Neapolitan harmony that aimed to create Theme I. Theme II approaches more in a classical form by continuing the key of Bb Major and at the end suddenly moves to the seventh by using Eb Major. The fourth appears as a substitute for the third and it is clearly seen that Chopin actually deviated from classical form. In conclusion it can be said that Chopin has clearly maintained symmetry in both thematic and tonal form.
Form and Design of the Ballade
It is essential a debate in regard to G Minor whether the forms Ballade are adaptation of sonata or whether they represents uniqueness in their own approach. However it can be considered that all of his Ballades can be analyzed in the form of single formal model. To illustrate, Ballades requires three musical structures. They are:
· Statement of the theme
· Transformation of the theme
· Resolution
Since it is impossible to determine what Chopin thought when composing the Ballade, it can be assumed that Chopin used both three forms since they are very much common when working literary and folk ballads.
The Ballade of Chopin as seen does not have any so-called introduction can be considered as a musical form with all three aforesaid aspects.
Another study suggests that the sonata form elements of G Minor Ballade are represented to present the main thematic groups.
