Off-topic posts, spam, advertising, blog posts with little contentĪlso, please do not submit more than 3-4 posts per week, and you should not have more than 2 posts on the front page.Ĭomments that contain personal attacks, hate speech, trolling, unnecessarily derogatory or inflammatory remarks or inappropriate remarks (e.g. Requests for transcriptions, identifying chords/notes in a song (use /r/transcribe), what song is this?, requests for sheet music (see FAQ, use /r/musicnotes, /r/transcribe)Ĭommon generic questions covered by the FAQ such as "What's a good keyboard?", "What's my piano worth?", "How do I get started?", unless your question has specific details. (use /r/musicpics, /r/classicalmemes or /r/pianomemes) Image memes, pictures of text, rage comics, etc. The following types of posts are subject to removal:
Recording from a Digital Keyboard into a Computer read the FAQ Newest Comments | Participate! Piano Jam | 'No Stupid Questions' Energetic and placing several of the scherzo’s motivic ideas in close proximity, the coda brings the scherzo to an exciting close.Welcome to /r/piano! Whether you're an absolute beginner or a seasoned professional, we hope you've come to talk about pianos. At the conclusion of the scherzo’s reprise, a sudden change back into A major for eight measures signals the arrival of the coda. Like the scherzo, the trio is also repeated and upon its close leads into a transitory passage, built upon the prior F-sharp minor tune, and soon the return of the Scherzo. The triplet flourishes that underlie this theme eventually lead the music to a beautiful and graceful passage of arpeggios over a descending bass line in E major. A somber tune in F-sharp minor follows the sustained opening and becomes the centerpiece of the trio. In sharp contrast, the trio begins with sostenuto chords with the faint reminiscent sounds of the Scherzo’s melody hidden within. For this reason, it is better to consider D-flat major, instead of B-flat minor, as the key of the Scherzo. As is typical of Chopin, the introduction and melody are repeated again with variation.įollowing a flourishing close in D-flat major, the trio section shifts to the key of A major. The melody gradually unfolds over a lush harmonic accompaniment in the left hand. Establishing firmly the key of D-flat major as the prevailing tonic, elegant passagework leads to the Scherzo’s beautiful con anima melody. This introductory passage, vacillating between the keys of B-flat minor, D-flat major and F minor, and ending in the latter, breaks off in anticipation of the arrival of the scherzo’s main theme. Colossal fortissimo chords then sound in resounding response. It begins with a short motif based around the notes of the B-flat minor triad ending questioningly on its fifth. 31 Frédéric ChopinĬhopin composed his second of four scherzos for the piano in 1837. The truth is, it begins in b-flat and ends in D-flat. 2, written in 1837 (the same year Chopin wrote a great work in the same key: his second Piano Sonata), has such a modal ambiguity (b-flat minor/D-flat Major) that some publications refer to it as the b-flat minor Scherzo, while others as the D-flat Major Scherzo. 4 has such a character - and it is the only one written in a Major key. In Chopin's treatments of the form, only no. The Italian word Scherzo means joke, something light and happy. In contrast to the other composers in this program, Chopin's output was almost exclusively dedicated to solo piano works.