<glacius:metadata>

    <title>Chopin's Mazurkas - Part 4</title>

    <description>Once again I listen to Chopin's Mazurkas (part 4)</description>

    <category>Piano</category>

    <category>Music</category>

    <category>Classical music</category>

    <category>Chopin</category>

    <series order="13">2022 music project</series>

    <series order="4">Reviewing Chopin's mazurkas</series>

</glacius:metadata>

<p>

    In which I listen to Chopin's Mazurkas and struggle with 

    <a href="https://lilypond.org/">Lilypond</a>. We begin on Op. 30, No. 1.

</p>

<h2>Quatre Mazurkas</h2>

<p>For <em>à la Princesse de Würtemberg</em>.</p>

    back nicely to C minor. I talked about the "<code>V</code> of the <code>V</code>" thing and 

    its prevalence previously in 

    by hitting you with a <code>iv</code> before 

    I like the very beginning of this piece. It starts off with a

    <code>i</code> &#x2192; <code>V</code> progression in the first two measures, and then 

    repeats the same melody but employs an A♮ instead of an A♯ to achieve a

    <code>i</code> &#x2192; <code>v</code> progression.

</p>

<p>

    Since last time I did this I'm always on the lookout for 7♭5 chords, and

    we've found another in the B section. The B section is mostly a lesson in how

    the circle of fifths works, but Chopin sneaks in a descending chromatic motif in the

    left hand to go from C♯ → F♯m → B7♭5 → E.

</p>

<p>

    I really like these kinds of things because it really emphasizes the importance

    of spelling and enharmonics. Tonally it's the same notes with the same frequency,

    but in this case the E♯ is very different harmonically from the F♮.

    Another reason why I'm not a huge fan of guitar tablature, because you lose

    this meaning when you only see, for example, <code>4 3</code> on the D string twice

    and it's not immediately obvious that the harmony is different since there is no

    indication of whether it's an E♯ or an F♮.

</p>

<p>

    In the C section Chopin repeats the idea of the main theme but with different harmonies.

    The right hand does the same thing four times in a row while the left hand slightly

    changes the harmony.

</p>

<p>

    This mazurka is unusual in that it ends without gratuitous repeats. It follows an

    A → B → C → B progression without ever returning to the A section.

</p>

<h3>Op. 30, No. 3 in D&#x266d; major</h3>

<h3>Op. 30, No. 4 in C&#x266f; minor</h3>