Draft:Chopin chord
| Submission declined on 7 May 2025 by BuySomeApples (talk). This submission is not adequately supported by reliable sources. Reliable sources are required so that information can be verified. If you need help with referencing, please see Referencing for beginners and Citing sources.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
|  |
Comment: Can you add some inline citations? There's explanations in Help:Referencing for beginners. BuySomeApples (talk) 03:56, 7 May 2025 (UTC)
The Chopin Chord, the historically earliest (and incomplete) form of the thirteenth chord, is a dominant chord with a minor seventh and major thirteenth (or sixth, hence also called the Chopin Sixth) instead of the fifth. In the key of C major, the notes are G–B–F–E; in the key of C minor, the diatonic minor thirteenth is used, so the notes are G–B–F–E♭. The G, B, and F notes resolve to the tonic chord the same way that they do in a dominant seventh chord:
- G in the bass moves to C in the tonic
- B, the leading tone, resolves to C in the tonic
- F, the minor seventh, resolves to E, the third in the tonic
As with the resolution of the dominant seventh chord, the leading tone at the end of a cadence may also move downward in order to achieve a complete final chord. This is especially true on the piano, where the independence of voices is less distinct than, for example, in choral writing. The thirteenth that appears specifically in the Chopin chord is treated like the fifth that it replaces and therefore resolves downward to the root. The resulting leap is particularly characteristic in terms of sound. This is what distinguishes the typical use of the Chopin chord from the “regular” treatment as a sixth suspension resolving to the fifth, as seen in the adjacent example by Adolf Jensen.
The following example from the F major Ballade, Op. 38, shows an especially extensive use of the Chopin chord:
Literature
[edit]- Reinhard Amon: Lexikon der Harmonielehre: Nachschlagewerk zur durmolltonalen Harmonik mit Analysechiffren für Funktionen, Stufen und Jazz-Akkorde. Doblinger; [Stuttgart]: Metzler, Wien/München 2005, ISBN 3-476-02082-7.
- Artur Bielecki: „Some reflections on the Chopin chord.“ In: Chopin in the World, 4 (1989), S. 47–48.
- Ludwik Bronarski: „Akord chopinowski“ In: Kwartalnik Muzyczny, 1930/31, Nr. 12/13, S. 369–380
- Hartmuth Kinzler: „Chopins G-Moll-Ballade, ein Opus XXIII.“ In: ders. (Hrsg.): Theorie und Praxis der Musik. Schriftenreihe des FB Erziehungs- u. Kulturwissenschaften, Bd. 16. Universität Osnabrück, Osnabrück 1997, ISBN 3-923486-24-3 (online)
- Ekkehard Kreft: Harmonik im Umbruch: Akkordtypen und Formationen vom 18. bis in das 20. Jahrhundert. Lang, Frankfurt am Main/Berlin/Bern/Bruxelles/New York/Oxford/Wien 2003, ISBN 3-631-51703-3
- Helmut K. H. Lange: So Spiele und Lehre ich Chopin: Analysen und Interpretationen. Steiner, Stuttgart 1994, ISBN 3-515-05772-2. Kapitel 9: Der Chopin-Akkord, S. 47 f. (eingeschränkte Vorschau in der Google-Buchsuche)
- Peter Sabbagh: Die Entwicklung der Harmonik bei Skrjabin: Die Entwicklung der Harmonik bei Skrjabin. Dissertation Universität Hamburg. Books on Demand, Hamburg 2001, ISBN 3-8311-1866-3 (eingeschränkte Vorschau in der Google-Buchsuche)