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This page lists all sheet music of March in B flat major Op. 99 'Military March' by Sergei Sergeievitch Prokofiev ().
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Military March in B flat major

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Sergei Prokofiev - March for military band in B flat major (op.99)

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Prokofiev: March, Op - Allegro - B Flat Major. Слушать онлайн на Яндекс.Музыке

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    We are in a transition from measure to when Chopin achieves a climactic arrival still using the snippets of melody but now with grandeur, introducing chords as triplets in the bass for added sonority and keeping the dynamic level at fortissimo. At measure this motivic material winds down via a long decrescendo to reach, at measure , the narrative or sustained melody that we first encountered at measure Originally in D flat or the relative major of B-flat minor, the same melody is now presented in B-flat major.

    If this were Schumann we might think of the two sections — active and narrative — as two opposing characters. But in Chopin I think the distinction is subtler and gentler, less programmatic. A powerful stretto at measure propels us to the final B-flat major chord.

    It imbues the Scherzo with a stomping, boots-to-the-floor feeling. Chopin mazurkas highlight the second beat of triple meter and here he manipulates the rhythm in yet another way. The accents, crescendi , a dynamic of forte and the 2-note slurs at measures 9 and 29 combine to achieve a powerful, propelling opening. This virtuoso feel to the writing continues to add brilliance to the Scherzo movement.

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    As a double dose of heaven, in measure 81, marked piu lento , Chopin dissolves the sonata into a pool of melodic repose. We want to shout genius! A short transition at measure brings us back to the original, furioso Scherzo material and to the end.

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    Just there Chopin reminds us as in a daydream of the purely spun melody and proceeds to end in the major key, forestalling the inevitable. A shift at measure 15 to ascending chords occurs in the relative key D-flat major and in forte that elevates melancholy to nobility.

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    At measure 31 Chopin moves seamlessly to yet another divine melody of which there is never a shortage. Its simplicity and serenity contrasts to, and complements, the march section as it carries us away to a dream-like place.

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    It is easy to do, but here the two voices, treble and bass, work as a duet, sometimes matching eighth for eighth. The voices, being far apart, make it easy for the melody to sing out without sacrificing the bass line. Chopin returns verbatim to the opening material A-B-A , and, unlike movements I and II, maintains his original minor key to the very end. Frederic Chopin was giving a recital in when he left the stage midway through his Piano Sonata in B flat minor.