Like the first Prelude, Prelude No. 2 is also in three-part song form, though instead of the typical three-part song form in which the A section comes back in some capacity, this piece goes to a section that contains some material from the A section but seems to be too distinct to be labeled as the return of the A section. Because of this, I have analyzed the musical structure of Prelude No. 2 as A, B, C. This piece is played at a rapid tempo in 3/8 meter, is in the key of A major, makes extensive use of motives, and also features dramatic contrasts in dynamics. The A section (mm 1-12) consists of an expanded contrasting period in which the first and second phrases are sequences of each other; the second phrase starts and ends a step lower than the first phrase.

The B section (mm 13-30) derives its character from a two-measure motive that repeats throughout the entire section. The melody of phrases 2 and 3 of the B section use the exact same melodic and rhythmic pattern as phrase 1 of the B section, though the melody is stated a minor third above in phrase 2 and a major second below in phrase 3. This melody is accompanied by a descending bass line and light harmonic accompaniment in phrase 1 of the B section, a stepwise bass line and equally sparse harmonic accompaniment in phrase 2 of the B section, and harmonies based on the dominant in mm 21-22 and mm 27-30 and bVI chromatic mediant chord in mm 23-26. In addition, a gradual and long crescendo occurs throughout the entirety of the B section. The C section begins with a one measure motive from measure 1 of the A section, though this time it is played an octave lower. The second phrase of the C section is a modification of a motive from the third phrase of the A section. This phrase also modulates to the chromatic mediant bVI key. The third phrase of the C section modulates back to the tonic and makes use of harmonics, while the fourth and final phrase of the C section begins with the same motive that began the section, although this motive is transposed a perfect fifth lower than its first appearance in the C section. The piece ends on a perfect authentic cadence. Recurring themes of this piece include the repetition and variation of rhythmic and melodic motives. These characteristics combine with the fast tempo to create a restless and driving rhythmic feel that contrasts with both the preceding and upcoming Preludes.


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