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so that the chord of the 10th, instead of the former grouping within the octave, may be considered the basis of his harmonic scheme. By this means a great gain was made in richness and sonority. Another striking feature of Chopin's style is found in those groups of spray-like, superadded notes with which the melody is embellished. It is evident, in many cases at least, that these tones are not merely embroidery in the ordinary sense. Rather do they represent a reinforcement of the overtones, ideally or actually present, in connection with bass tones and chords used in the lower part of the musical fabric. As a striking example[222] see the long series of descending non-harmonic tones in the Coda of the B major Nocturne, op. 9, No. 3, and note the delicate colors in the closing arpeggio chord (to be played with a free use of both pedals).
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In general, Chopin's style is homophonic—wondrous lyric melodies which seem to float on waves of richly colored sound. But there is also much subtly used polyphony, i.e., delightful phrases in inner voices and imitative effects between the different parts. In comparison, however, with Schumann's style (which is largely on a polyphonic basis) Chopin is a decidedly homophonic composer.[223] A great deal of interesting and instructive reading on Chopin is available and the following works are especially recommended: [Chopin, the Man and his Music] by Huneker; the [Life of Chopin] by Niecks; the essay on Chopin in Mason's Romantic Composers and in Hadow's Studies in Modern Music; the volume on Chopin by Elié Poirée in the series Les Musiciens Célèbres; and the same by Louis Laloy in the series Les Maîtres de la Musique; the [Life] by Liszt (well known and most valuable as coming from a contemporary and brother musician); finally a somewhat rhapsodic essay by H.T. Finck in [Chopin and Other Essays].
We select, as being thoroughly representative, the following works for comment: the first Prelude, the A-flat major Étude, the F-sharp minor Mazurka, the E-flat minor Polonaise, the Barcarolle and the C-sharp minor Scherzo.[224]
Prelude in C Major, Op. 28, No. 1.
This Prelude, the first of the set of 24, is an excellent example of the sonority Chopin gained from widely extended chords in the bass; by the use—characteristically bold—of dissonances (measures 13-20), and by the sensuous richness of the closing measures, in which a wonderful wave of sound is produced through the damper pedal, in connection with the blending of the tonic, dominant and subdominant chords. The prelude is a kind of intensified Bach and may well be compared with that prelude in the same key which begins the immortal well-tempered Clavichord. All the Preludes, for their poetic import, finished style and pianistic effect, are masterpieces of the first rank. Schumann well says of them: "They are sketches, eagle's feathers, all strangely intermingled. But in every piece we recognize the hand of Frédéric Chopin; he is the boldest, the proudest poet-soul of his time."