Frédéric François Chopin (1810 – 1849) was a
Polish composer and virtuoso pianist of the Romantic
era who wrote primarily for solo piano. He has
maintained worldwide renown as a leading musician of
his era, one whose "poetic genius was based on a
professional technique that was without equal in his
generation."
Étude Op. 10, No. 5 in G♭ major is a study for
solo piano composed by Frédéric Chopin in 1830. It
was first published in 1833 in France, Germany, and
England as the...(+)
Frédéric François Chopin (1810 – 1849) was a
Polish composer and virtuoso pianist of the Romantic
era who wrote primarily for solo piano. He has
maintained worldwide renown as a leading musician of
his era, one whose "poetic genius was based on a
professional technique that was without equal in his
generation."
Étude Op. 10, No. 5 in G♭ major is a study for
solo piano composed by Frédéric Chopin in 1830. It
was first published in 1833 in France, Germany, and
England as the fifth piece of his Études Op. 10. This
work is characterized by the rapid triplet figuration
played by the right hand exclusively on black keys.
This melodic figuration is accompanied by the left hand
in staccato chords and octaves.
Like all of Chopin's other études, this work is in
ternary form ABA. The two eight-bar periods of the A
section are characterized by frequent dynamic
contrasts. Each reentry of the first bar, occurring
every four bars, is marked by a forte, followed in the
second bar by a piano restatement in a lower register.
This capricious:106 opening in the tonic is replied by
an upward movement and a syncopated accompaniment in
the third and fourth bar. This pattern is repeated four
times. The harmonic scheme of the A section is
relatively simple, featuring tonic (first two bars)
versus dominant (third and fourth bars), but the
consequent of the first period shifts to
|music|B♭ major (poco rallentando, pp), while the
consequent of the second one modulates to the dominant
key D♭ major.
D♭ major is also the key of the middle section
which is exactly twice as long as the A section. Its 32
bars though do not subdivide into four eight-bar
periods but into sections of (4 + 2) + 4 + 2 + 4 + 8 +
8 bars with six motivically distinct modifications of
the original semiquaver triplet figure, thus offering
an attractive break from the symmetry. An effective
dynamic increase begins in bar 23 but does not end in a
climax as the crescendo does not lead to fortissimo but
eases off in diminuendos (bars 36 and 40). Harmonically
the section (bars 23–41) may be interpreted as an
extended and ornamented D♭ major cadence.
Musicologist Hugo Leichtentritt (1874–1951) compares
the left hand of bars 33–48 to horn signals. These
"announce" the recapitulation of the A part which
begins as a literal restatement in bar 49, seems to
approach a climax and eases off with a sudden
delicatissimo pianissimo smorzando passage, leading via
a cadence to the coda. The coda consists of two
periods, the last one stretched by three bars. The
first one is a restatement of the middle section's
opening transposed to the tonic G♭ major. The
consequent of the second period contains a brilliantly
swooshing, widely positioned arpeggio for both hands
(bars 79(83) and is pianistically attractive. Its
effect is based on the accent enforced by a third at
the beginning of each triplet, as well as on the tenth
and eleventh stretches of the left hand and the
ascending bass line covering the entire range of the
keyboard.:109 The piece ends with a rapid octave
passage, ff and staccato, played by both hands on black
keys, in a G♭ major pentatonic scale. Some
prominent performers, including Horowitz and Rosenthal,
choose to perform the final octave passage
glissando.
Source: Wikipedia
(https://en.wikipedia.org/wiki/%C3%89tude_Op._10,_No._5
_(Chopin) ).
I created this Transcription of the Étude in G♭
Major (Op. 10 No. 5) for Piano.
PARTITION