What is the form of spring?

Principle and performance of three-part structure.

The whole song is a reproduction of a single trilogy. The musical image in paragraph A is fresh and lively, with the pulse of spring and a vibrant atmosphere. Music B is a contrasting middle section, which provides the impetus for the work and seems to review the process from winter to spring, from pain to light. Section' a' is a reappearance section, which shows a new world of melting ice and snow and surging spring tide through the change of tonality and harmony. The author will focus on the performance art of piano lyric essay "To Spring" from three aspects: hand, body and heart.

Paragraph1(section 3-22) is a non-square complete paragraph, in contrast to the two sentence patterns. The melodies in paragraph A are all bass voices, and the right hand plays them weakly with a high voice, giving people a simple and warm feeling, full of praise and praise for spring. It seems that the long-awaited Nordic spring has finally arrived, the ice and snow melt, the earth recovers, and everywhere is full of vitality. The homophonic repetition of the first phrase A is only a change of harmony. The left-handed melody is a progressive melody form, with a slight change in intensity and stable mode tonality, all in #F major.

Section B (23-36) can be regarded as a split middle section. The material comes from the material of the presentation part, the tone area has been reduced by two octaves, and the mode has changed from #F major to #f minor, and the tone has become dim and tense with the change of the tone area and mode.

Starting from the degree p, we can regard 23-26 as a sentence, then move the melody of 27-30 bars up by a big third degree, and then divide the phrase into smaller units, 3 1-32 as a unit, 33-34 as a big third degree, and the units divided into 35 and 36 are smaller, and so on.

The author's tone:

Norwegian artist and composer Edvard Grieg (1843- 1907) is one of the important representatives of folk music school in the19th century, and his works are extremely rich. When he was young, he studied at Leipzig Conservatory of Music and later founded Norwegian Music School. His creative style has a strong Norwegian national flavor.

Piano lyric sketches record Grieg's feelings about the magnificent scenery and humanistic scenery in northern Norway. Each piece of music is short in length, but vivid in image. As musicians, we should deeply understand and analyze the creative background of the works in order to better interpret the works.

This paper takes Grieg's lyric piano sketches "The Wedding of Troldhausen" and "To Spring" as examples, and makes an in-depth discussion and research on their creative background, creative methods and playing skills.

The full text is divided into three parts. The first part analyzes Grieg's The Wedding of Troldhausen from the aspects of music structure, harmony application and creative skills. The second part analyzes Grieg's To Spring from the same angle. The third part compares the background and structure of the two works, harmonic progression, and further discusses the similarities and differences between the two works.