Chopin, Prelude in C minor, Op. 28 and Scriabin, Prelude in C, op. 31, no. 4

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2 Frank Martignetti Graduate Theory and Analysis 16-MTHC Professor Cahn March 8, 2001 Chopin, Prelude in C minor, Op. 28 and Scriabin, Prelude in C, op. 31, no. 4 When analyzing the harmony of a piece in detail, examining the piece s large-scale structure and determining its phrase structure can aid in increasing one s understanding of how the piece works as a whole. Harmony works in two very different ways in these two pieces. In the Chopin, functional harmonic progressions enable tonal stability to carry the day against sequential (non-functional) processes. In the Scriabin Prelude, what few functional harmonic progressions exist become overwhelmed by sequential processes. Sequences are not considered functional tonal harmony, but in this piece, they provide the limited sense of tonal stability which exists. In evaluating this statement, issues such as form also come into play. A careful comparison of phrase structure in both the Chopin and Scriabin preludes shows both many similarities and some differences, and helps us determine what role harmonic progressions and sequences play in the architecture of each piece. Both pieces are extremely short; the Scriabin is 17 measures long, and the Chopin is even more compact, weighing in at 13 measures long. A discussion of phrasing in either piece must include a clarification of phrasing in general: in any piece of music, there are always phrases within a phrase, smaller units that form subphrases within the larger musical ideas. One dictionary defines a phrase as a term used for short musical units of varying lengths, generally regarded as longer than a motif but shorter than a period. It also carries a melodic connotation: `phrasing is applied to the subdivision of a

3 Martignetti 2 melodic line. 1 In both these pieces, however, it is very possible to hear even one single measure as a coherent, but short, phrase, harmonically speaking. The Chopin is most appropriately divided into three large phrases. The first ends with the half cadence on the last beat of measure four. The second phrase is best described as three plus one the imperfect authentic cadence on the last two beats of measure seven, followed by a onemeasure extension in measure eight, which tacks on a short addition consisting of VI, followed by flat II, and concluding with a perfect authentic cadence. The third phrase is best described as three plus two. This third phrase uses exactly the same musical material as the first three measures of the second phrase, with the addition of two measures at the end for added reinforcement of the final perfect authentic cadence. Yet this does not complete our understanding of phrasing in the piece. The phrasing of the piece can also be analyzed in one to two measure groupings quite convincingly. These musical ideas are too clearly self-contained to be labeled as motifs. They are subphrases within the larger phrases already discussed. The first two measures each form an independent phrase, and measures three and four also make a coherent entity. Measures five and six work as a unit, and measures seven and eight are each capable of standing on their own. Measures nine and ten again form a two-measure phrase, and measure eleven stands well on its own. Measures twelve and thirteen work together as a unit, although measure thirteen (the final whole note C minor chord) really exists only to confirm to the listener that we have reached the end of the piece. So what can be learned from our discussion of phrasing in the piece about its use of harmony? First, there is a very strong sense of tonal stability at all times. Although the piece uses some very chromatic harmonies, no other area is ever tonicized. The harmonic palette 1 Stanley Sadie, ed., The Norton/Grove Concise Encyclopedia of Music (London: Macmillan Press, 1988), 616.

4 Martignetti 3 Chopin uses in this piece includes major and minor triads, many applied dominants, some use of the Neapolitan (m. 2), use of modal mixture (C major appears on m. 3 as an applied dominant of F minor). There is no doubt that this is a Romantic piece because of the many chords used that are not directly derived from the C minor scale, but the harmonic palate is actually fairly limited when compared to the Scriabin. There is never any doubt that we are in the neighborhood of C minor. The presence of so many cadences shows us that while sequential processes are used, tonal stability carries the day since harmonies used function as a progression. In fact, the piece is so harmonically dense and homophonic in texture, it could almost be a Romantic version of a Bach chorale. Through harmonic progression, tonal stability is clear, despite the presence of sequential processes. Turning to the Scriabin, one finds quite the opposite use of harmonies. Again it is useful to begin with a discussion of the phrase structure before turning to the harmony. Here, it is very easy to divide the piece into two long 8-measure phrases, ending at the dominant in measure 8 and then at the end of the piece. These two cadences are the only two events in the piece that clearly establish C major as the tonality. The remainder of the piece can be broken up into short phrases that are sequential in nature. These can be grouped together or viewed separately. These harmonies do not have any meaningful function. The attached annotated score represents an attempt to analyze these harmonies in Roman numeral fashion. This is not successful, so the sequences and shifting tonalities are charted on the score as well. They are simply sequential in nature. Every time you feel like you have arrived and are rooted in a key, the tonality shifts suddenly, without warning. This gives this short piece a great sense of rootlessness. This sense of rootlessness comes from both the short phrases and the fact that they do not function as a harmonic progression. Use of sequential processes instead of functional

5 Martignetti 4 harmony leads to an overwhelming of any sense of harmonic progression. The harmonic palate Scriabin uses is much more broad than that of Chopin, which makes sense, given stylistic developments in harmony from Chopin s day onward. Scriabin introduces a strange kind of augmented sixth chord that could be labeled a Russian sixth, many applied dominants, chromatic passing harmonies, and chords that have nothing whatsoever to do with C major.

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