Analysis of Im wunderschonen Monat Mai and Chopin – Prelude 4 in E Minor

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Im wunderschonen Monat Mai


The leider � a German song. It is a love song in which the singer professes his love to a woman and is hopeful that she may accept him.


Phrasing, typical of music of the Romantic era (185-100), is irregular. The piece is strophic as we hear the same melody twice over two verses. The rhythm of both verses is also identical, but dynamic phrasing does vary slightly.


The piano accompaniment compliments the words strongly � each chord helps to redefine what words are being sung. For example, the very last chord, C#7, shows that the piece end inconclusively as the singer asks his desire as to whether she will accept his love or not (Translation “Then I confessed to her, My longing and desire”). This chord is also abrupt and ends the piece as though it were ending with a question mark as it differs from the tonic, A Major, which is the key a piece typically begins and concludes with.


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Another example would be the accompaniments emphasis on emotional words and scenes of natural beauty, such as the words ‘In the lovely month of May’. On the word May, the chord in the left hand is an A Major Chord with a suspended D that resolves to a euphonic C#; a beautiful Major sound.


The accompaniment is mostly arpeggiated and makes use of the pedal throughout in order to hold the wide chords; another typical feature of romantic music.


The melody is simplistic with few touches of chromatism whilst the piano accompaniment may be seen as complex as it involves many chromatic changes in comparison.


Chopin � Prelude 4 in E Minor


Phrasing is irregular, a feature typical of music of the Romantic era (185-100). The melody mostly consists of a descending sequence of upper and lower auxiliary notes, with touches of chromatism.


The accompaniment in the left hand is very chordal, consisting of frequent chromatic touches. It is an almost constant flow of quaver chords, which help to support the tonality of melody, whilst also helping it not to drag. The phrasing is also in frequently contrast to the melody, beginning and ending in different places, making the piece very expressive.


The piece begins and ends on tonic chords, making it sound like a ‘complete’ work within itself.


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