Chopin's development and innovation of previous music genres made the nocturne develop and have its own personality characteristics. The serenade in C minor is full of dramatic passion and internal tension. When playing, you should ask to change your mood with your attention. After the emotional transition, the passion was generous and the whole song reached its climax.
Keywords Chopin nocturne melody and harmony
Piano music plays an important role in world history. There are also countless outstanding musicians who have contributed to this and even fought for it for life. You Wei, a "piano poet", shines brilliantly in the long history of world music. His music, like pure crystal and clear spring water, purifies people's souls and promotes their sentiment. His music has already surpassed his time. He is Chopin, the greatest national composer and patriotic musician in Poland in the19th century.
First, the understanding of Chopin and his nocturnes
Chopin (1810-1849) created the most ideal keyboard style for romanticism in the 9th century. His music history is subjective and restrained, with a sad color. His musical style. His music is subjective and introverted, with a sad color, and his music style has extraordinary personality characteristics. Some of his factors make it clear that they belong to him. Chopin's melody is basically vocal music, which provides decorative possibility, but it is a kind of self-development based on harmony change, modulation, rhythm change and decorative variation; Chopin's concept of harmony also has remarkable characteristics, and his unique harmony practice is completely in the forefront of his era; Another striking factor in his music style today is his use of free speed, which requires some loosening of the strict speed, and another stable accompaniment part supports the more free and improvisational color coating of the melody part. His most outstanding achievement is the piano ditty with perfect proportion, which is delicate, unique and lyrical. The timbre is slender, and the melody decoration enriches the harmony. Its harmonious realm transcends the traditional boundaries at that time and is very colorful. Music is a kind of finely carved music poem, as sweet and sad as the motherland he misses, with an unforgettable elegant voice and music connected by silver edges. Grieg once said, "Chopin really taught me how to compose Norwegian music." This shows that his music has profound nationality and strong national spirit.
Chopin composed 2 1 serenade in his life. These nocturnes can be roughly divided into two categories. The first kind is similar to Feld's nocturnes, similar to songs without words, based on a musical image. Its tunes are accompanied by other parts. When listening to these songs, sad thoughts, inner sadness and tenderness are easy to emerge. The other kind of works are long and dramatic poems with fiery passion, inner fear and deep pain, as well as dramatic plots reflecting narrative music. For example, serenade in C minor, I want to focus on this work.
Second, analyze "Nocturne in C minor".
Nocturne in C minor was written in 1837, when Chopin's creation was very mature. Composers can portray diverse contents and complex images through profound, subtle and colorful artistic means. This nocturne is profound in content, long in melody, full of dramatic passion and full of internal tension in rhythm. Although it is not as big as a narrative, it is very similar to a narrative. The image of music is distinct and the contrast is strong, and the development of music is full of strength and tension. Chopin's nocturnes are almost all written in the form of trilogy, and "Nocturne in C minor" is no exception. His music structure is also ABA, but the notable feature of Nocturnal in C minor is full of dramatic and passionate changes. After the middle stage of excitement, the work is not only a simple review of the first paragraph, but also a continuation of excitement, which makes the mood more manic.
To play this piece well, we should not only have a good technical foundation, but also have musical emotional feelings. Even with these, we should practice every part of music seriously. You should know that uniformity, speed and strength are completely free in all aspects.
The first paragraph of this piece of music is a lyric melody. Don't be too loud at first. When playing the melody, your right hand should subconsciously play and listen attentively, and the rhythm of the accompaniment part should be neat and even. Coupled with the descending bass, the music becomes a sad and lyrical monologue, which seems to be telling a sad story, but it is not serious and solemn. One problem that needs special attention in the first paragraph is that the melody sound and vision of 17 and 18 are exactly the same as those of 1 and 2, but the accompaniment of the left hand changes greatly. In order to highlight this change, the right hand should touch the keys slightly differently, and the fingers should be more upright to make the melody sound brighter, which is in contrast to the first two sections. Although the second and third paragraphs of this piece of music are technically strong, it is not appropriate to show off the skills as an etude, let alone to be fast and loud. The middle part is composed of majestic and unhurried hymn-like chords, but the speed of marching makes the whole hymn full of movement: the first few bars are subtle and soft, and the forces that have not yet been exerted gradually converge, and finally, like a torrent of speed, the "hymn" becomes no longer subtle and soft. It is solemn, grand and powerful. For such a high-intensity performance, two hands should cooperate seamlessly. Boeing should play chords smoothly. Play octaves together, and the intensity contrast will be stronger. In addition, attention should be paid to highlighting the melody in the ensemble, and the interval between sentences should not be too long and compact. Otherwise, the concert feels out of touch and there is no flood momentum. Only by doing the above mentioned points can there be a surging wave effect. At the same time, we should also pay attention to the role of bass and harmony. You must know harmony when practicing. The five fingers of the left hand playing bass should give enough support to harmony and be continuous like a horn, so that the music has rich and solid harmony color, which is also an important feature of Chopin's piano music. Rimsky-Korsakov also said that the harmony of Chopin's music is like singing. When playing the second paragraph, the most important thing is to master the level of dynamics in this piece of music, first of all, the level of melody and background. For example, section 25 is the beginning of the middle section. The first sound of this paragraph is continued by the last sound of the first paragraph, but it is not the melody sound at the beginning of the theme. If you put it heavier, it is easy to give people the feeling of "usurping the role of the master". In fact, the melody sound is in the highest tone of the right hand, so it is difficult to grasp the strength of the five fingers of the right hand. If the melody is too prominent, if you play it too hard, you will lose the subtle and quiet atmosphere. If it is too weak, there will be no aesthetic feeling of the melody curve, so it is very important to grasp this degree. In the octave ensemble, the distance between the theme sound and the accompaniment sound should also be widened, and we must never grab the eyebrows and beards, otherwise the ensemble will overshadow and drown the theme, otherwise it will be very noisy and it will be difficult to express the brilliant momentum and romantic passion that music should have.
Third, the conclusion
The appearance of "Nocturne in C minor" indicates a new tendency in the creation of this theme. This work has gone beyond the scope of ordinary lyric sketches, with strong drama and deeper ideological content, strong emotional pair and broad and tense melody development. In terms of content, there is also a severe, passionate and angry mood that has not appeared in previous nocturnes, so "Nocturne in C minor" occupies a special position in Chopin's nocturnes. In addition, if we want to play Chopin's works well, we must understand Chopin's life thoughts, psychological activities and the conception of the works, and improve the consciousness of playing from perceptual to rational from time to time. Finally, I want to end my speech with a passage by British pianist Arthur hedley, which is instructive for us to better play Chopin's works: "Any player must use his musical wisdom from beginning to end when playing Chopin's works, instead of relying on a little clever, flexible fingers, ordinary piano skills and any effortless skills. This wisdom includes reason and emotion. Properly handle a large number of complete works. Only in this way can we look at his works from a real historical perspective, so as not to lower Chopin to a slightly higher level than the salon players. "
References:
[1] Solokov. Chopin's creation [M]. Beijing: People's Music Publishing House, 1980.
[2] Wu Ying. Research on piano art [M]. Beijing: People's Music Publishing House, 1988.
[3] Zhu Yafen. Piano art [M]. Beijing: People's Music Publishing House, July 2003. Repost.