First of all, melody tones. Mendelssohn's three Venetian boat songs are all in minor, with sad tone, balanced phrases and long breath, showing a slow and melancholy mood, which reminds people of the boatman's singing. The theme melody of San Chuan Song is mainly gradual, and occasionally balances with the opposite gradual immediately after jumping (four or six degrees), forming an "arch" structure, which reflects the tendency of instrumental music in early The Romantic Period.

Second, the rhythm mode. Mendelssohn's three boat songs all adopt a typical 6/8 beat rhythm mode, which shows the vivid picture of the boat swaying from side to side in the water and embodies the picturesque description characteristics of early romantic music.

Third, structure and texture. Mendelssohn used his most commonly used semi-broken chord texture in his three Venetian boat songs. The combination of arpeggio staccato and rhythm staccato not only makes the accompaniment sound smooth, but also has longitudinal harmony effect.

Creative background:

Venice, the Italian water city, is not only fascinating with its beautiful scenery, but also touches people's heartstrings with its beautiful music. During his trip to Italy in 1830, Mendelssohn listened to the boatman's boat songs floating on the canal, which triggered his creative inspiration and wrote his first Venetian boat song here (Op. 19 6).

Subsequently, he completed two Venetian boat songs (Op.30 No.6, Op.62 No.5) at 1833 and 1842. These three boat songs have the same content and beat pattern, and the rhythm and speed are also close. The accompaniment texture is played with the left hand, all with scattered chords and harmonic intervals. Through the beautiful and slightly sad melody, the author shows superb creative skills, thus making his works very emotional and local.