The key signature now changes in section B from D♭major to C # minor. Section A ends on the dominant chord, A♭. They sound as though they want to carry on to complete the music properly. Section A ends with an imperfect cadence which means that the section sounds unfinished. Section A highlights how effortlessly Chopin composed his music as well as being able to play it with all the soul in the world. A♭is the dominant of D♭major so therefore it makes it a dominant pedal. The term pedal means that the A♭quavers are complementing changing harmonies. In the introduction you are able to understand why this piece is called The Raindrop Prelude, it’s because in the opening bars there are the repeated A♭quavers acting as a pedal throughout the song. The prelude has 4/4 time signature which can be often marked as “C” to stand for common time. Section B on the other hand contrasts from both sections A. The first section A can be the same as the other section A or it can be similar.
In music, the ternary structure consists of three sections, ABA. Like many preludes in the Romantic period, this piece’s song structure has characteristics of a ternary structure. In music, the prelude is often a introductory piece but not in this case as this composition is free-standing and self-contained. In his time, Chopin wrote 24 preludes which consisted of 12 major preludes and 12 minor preludes. This is one of Chopin’s most famous pieces which highlights why he was considered to be one of the very best composers of Romantic music. This piece is referred to as The Raindrop Prelude because of the persistent repeated notes which sound like rain falling. The name Raindrop Prelude comes from Chopin’s lover, the French novelist Amantine Dupin, best known by her pseudonym George Sand. 15 is also known as The Raindrop Prelude. Frédéric Chopin’s Prelude In D♭ Major Op.
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