I can only guess that this quality of undecidedness would have required Chopin to be one with a particular instrument, and his fingers be a medium to share his deepest of feelings with an inanimate object. When it comes to Romantic composers, I like to classify them into two broad categories: one quite absolutist, observing the world from an eagle's view and trying to reach the omniscient with their music.
The other, moved by the simplest of earthly beauty, work hard to condense it in their notes.
Etude Op. 10, No. 12 in C minor, known as the Revolutionary Etude or the Etude on the Bombardment of Warsaw, is a solo piano work by Frederic Chopin. Here is a free score of Chopin's Revolutionary Etude with good fingerings. Enjoy! Revolutionary Etude Op. 10 No. 12 (pdf). Other Versions. 1 Page Version.
Chopin clearly falls into the latter set, as would Mendelssohn and Schumann I will with some caution, also say Schubert. Beethoven will fall in the first category, as would Brahms. As much as most composers defy this kind of bland classification, there is something strikingly contradictory between Beethoven's piano music and Chopin's. For example, in Beethoven's Sonata No. One can attribute this partly to the sonata form, which developed in the classical period; but it is little surprise why Beethoven wrote piano pieces mainly in this form.
Another stark difference can be found in the use of long trills which Chopin almost never does. To me, a long trill on any instrument is indicative of the composer trying to throw the sound into absolutism; which Beethoven uses abundantly. Most believe that Chopin never saw Beethoven in his music, save for some tributes such as probably in the Fantasie Impromptu.
Both composers represent a different world view and both being favorites, its always interesting to learn and compare their music. Chopin's primary contribution to the 'state-of-the-art' was to give a keyboard instrument such as the piano, the tone of a voice. Most of Chopin's music have a familiar melody highly reminiscent of a voice, particularly that of a woman's. There is generous use of the pedal is almost all pieces, which further emphasizes the need to create the 'sotto voce' s or the 'smorzando' s we so often find in his work.
Carnatic Music is a tradition of South India, where songs are composed primarily for the voice. Instruments if any are either used as accompaniments or transcribe songs meant for voice. Although the basis of the Carnatic tradition is to use the taalam and the raagam , not found in European Classical Music, some of Chopin's pieces that have a strong vocal component do resemble Carnatic songs.
This raagam closely resembles the harmonic minor scale except for a different semitone in the fourth. The change in the fourth is critical in Chopin's Waltz in B minor, Op. Woodwind ensemble. Brass ensemble. Percussion ensemble. Accordion ensemble. Other ensemble. Vocal Scores. Full Score. Study Score. Critical Editions.
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Used sheet music for classical piano elementary grade -edited by- Dorothy Bradley. Rodriguez, E. Used book of easy classical piano sheet music scores. A unique collection of appealing solo pieces in their original forms; includes many rare works from the 19th and early 20th Centuries. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Introduction by Marion Bauer.
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They are moved by it. Yet it is not 'Romantic music' in the Byronic sense. It does not tell stories or paint pictures. It is expressive and personal, but still a pure art. Even in this abstract atomic age, where emotion is not fashionable, Chopin endures. His music is the universal language of human communication. When I play Chopin I know I speak directly to the hearts of people! There is no other music that touches me as much as Chopin's. This page contains my personal interpretation of his music, some interesting references, links to a few recordings of mine on the piano and may be regarded as a dedication page.
The strength and uniqueness of Chopin's music lies in the piano.
At any point while playing Chopin, the intimate relationship between the music and the piano is very apparent, and it almost seems that the music cannot be played on any other instrument. One reason for this maybe the relative undecidedness in Chopin's music. Chopin himself never named his pieces more than just the general form and common names such as the 'Revolutionary' for the Op. When examined further, not only a picture but even an emotion is hard to attach to most of Chopin's pieces.
The best examples are found in his larger works such as the Ballade No. It is probably apt to say that grammar is often exhausted of expressions to describe the sound.
Such is the personal nature of Chopin's music. I can only guess that this quality of undecidedness would have required Chopin to be one with a particular instrument, and his fingers be a medium to share his deepest of feelings with an inanimate object. When it comes to Romantic composers, I like to classify them into two broad categories: one quite absolutist, observing the world from an eagle's view and trying to reach the omniscient with their music.