Footnotes

1. Jeffrey Kresky has suggested that the entire right-hand melody of m.3 echoes the ostinato's outline. This relationship is clear on paper; however, all of the earŐs attention is drawn to the climactic E that resolves to D as it is, by far, the most audible aspect of the echo. One might question whether the first notes in the right hand are intended as echoes at all.
2. The term "inflection point" is used here to indicate any place at which the direction of the line changes. It may be easiest to think of these as local boundary points that outline the general shape of the ostinato.
3. Note that Chopin increases the tension (and, thus, the sense of anticipation) even further in m.11 with the inclusion of the ninth (E).
4. One may also notice that the E-D figure is restored along with the rhythm (the ninth leads to the root); however, in this case, the on-paper association may be more apparent than the aural phenomenon as the melodic accent of the original E-D motif is not maintained and the underlying harmony is different.

© 2008 Andrew Schartmann