So words cannot even begin to describe my excitement for this blog. It's the last one! = ) So here it goes. (My brain is slightly fried due to end-of-the-year syndrome, so I'm going to be brief.)
I have been given Chopin's Mazurka in F minor, Op. 68, No. 4
Sweet lord does this have a ton of chromaticism. My brain was a little overwhelmed by all the accidentals at first, not gonna lie. Chopin uses B natural, A sharp, D natural, G flat, F flat,C flat, and E natural as embellishments of the melody, all within the first eight measures. As I began my attempt at a harmonic analysis, I found that such an analysis does not makes sense for this type of piece. There is just too much chromaticism that the Roman numeral analysis becomes ridiculous. But, a few measures, such as measure one (i6) do make sense with Roman numeral analysis.
Measures 9-15 are similar to measures 1-8. The bass line is nearly the same, with the second chord of the odd measures (9,11,13,15) having a new chromatic note in them. The melody is the same but with added eighth notes in the measure to allow for some new chromatic additions as well. In measures 32-40 something very interesting happens. Here we see several beats that have two different chromatic notes with the same letter name.In msr. 37 there's an F flat and F sharp and in msr. 38 there's an E flat and E sharp. This helps with the chromatic progression to msr. 40 where 'D.C. dal segno senza fine' is written.
This marking calls for the performer to return to measure 2 and play the piece again but without ending. There is no 'fine' marked in the score so the performer must choose how many times to play the piece and where to end. To me, measure 23 looks like the best spot to end since it has the most conclusive cadence of the piece(authentic cadence).
This piece contains a lot for just 40 measures and has a lot of fun chromaticism. I would never play for I think I'd probably mess up the majority of the accidentals along the way. Oh well, props to whoever can play this!
Peace. It's been real.