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this "octave in the right hand" phenomenon extends for the whole of A' here. the E in bar 3 was omitted and in bar 17 replaced by G. The range of G has also expended to include more notes and add volume to C. The difference in its dynamics from p to ff as well as bring an octave higher than in A. The melody is accompanied by alternate accent on G and D in the left hand. It moved 3 octaves progressively within 2 bars and moved from G to G.
Ballade pour adeline piano chords full#
Finally, the direction of the piece swings upwards into a full swing. This E-D-C-B phrase seems to be a little "extra" as the melody then goes back to E and continued with its original rate of movement downwards. In bar 12, the descending tone is "quicken" as we can see a rapid decrease E-D-C-B in the right hand. Furthermore, it seems to be anticipating a climax. It creates direction both in the piece as well as in the phrase. In bar 11, it starts from F and makes it way down by step. In B again, the dreamy effect is emphasized with the introduction of the semiquavers.
Ballade pour adeline piano chords series#
To a certain extent the series of eight semiquavers may sound juxtaposing to the smooth/sweet mood created in the piece. Again, here the composer used semiquavers to add in different styles. Here the composer used the change in dynamics to emphasize the difference between antecedent and consequent phrase. The piece starts off sweetly with (I-IV-V7-I)x2. Lastly, the usage of semiquavers in the introduction quickens the pace of the piece, making it smooth and flow-like. The crescendo and decrescendo contribute to the contour of the piece. The introduction mainly uses arpeggios to create the water imagery.
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1977 single by Richard Clayderman "Ballade pour Adeline"