Music for Piano, Changes

Question 1

mm. 1-6

Answer 1

Opening figure is based on a fourth and played in close position (separated by a fifth).
Sixteenth-note motion is established in m. 1 and continues in both hands until m. 27.
Variety is created within the repeated figure through dynamic gradation and accented notes, played with the right-hand fifth finger.
From m. 3, accents in the right-hand figuration shift the listener’s attention to C and B flat (descending second), creating a bell-like effect.
At m. 9, the bass note changes for the first time from F to E flat.
A new melodic strand emerges from the accented pitches in m. 11.
After the fermata in m. 21, the bass note E flat is established, serving as a tonic pedal.
From this point to the end, the rhythmic and melodic details embellish the tonic triad.

Question 2

mm. 24-31

Answer 2

From m. 26, the accents are shifted, creating a hemiola-like effect.
In mm. 28-32, the left-hand sixteenth notes give way to quarter notes, eighth notes, then rests.
These changes result in a thinner sound (bit quieter for more dramatic effect), as preparation for the climax.
In mm. 40-43, the right-hand B flats are reinforced as octaves, creating a dramatic climax, with a bright ringing sound enhanced by a strongly accented pulsating rhythm.
In m. 44, the B flats are prolonged, relaxing the constant sixteenth-note figuration, and creating a hovering effect that emphasizes the dominant.

Question 3

mm. 45-52

Answer 3

As the momentum eases toward the conclusion, dynamic indications become gradually softer, leading to the final indication– perdendosi, ‘gradually dying away’