Grande Valse Brilliante Analysis

I have finished analyzing Grande Valse Brilliante by Chopin, the second most famous Chopin waltz after the Minute Waltz. I analyzed both the harmony and the form of the waltz. As for the harmony, that was relatively simple to analyze. The form on the other hand was more complicated in terms of analysis because I had sections, themes within sections, phrases within themes, and subphrases within phrases and even a couple of cadenzas. With the Coda, because it was developing preexisting material, I just showed what material it is developing at each moment. I clarified at the beginning of the score, that I think of this as being in a Quasi-Sonata Form, but you might think of it as an atypical Ternary Form and that's fine too.

How well do you think I did analyzing this Chopin waltz? Here is the audio and PDF of my analysis:

I'll check this out a little more later, but you should probably go over your figured bass again. m. 10 has a 9-8 suspension for example, and 12 has a 4-3.

My other question to you is what are you trying to say with all of this? You've identified form and chords, sure, but why? To get a better understanding of the piece? How so? Just things to think about.

Good analysis. I’ve always thought it would be nice to see a bit of color in an analysis, highlighting various phrases or voices in different colors so the eye can quickly see similarities and differences throughout the piece. Is this an assignment, or just for fun?

1 hour ago, jamezsche said:

Good analysis. I’ve always thought it would be nice to see a bit of color in an analysis, highlighting various phrases or voices in different colors so the eye can quickly see similarities and differences throughout the piece. Is this an assignment, or just for fun?

 

It was just for fun. I did 2 Beethoven analyses beforehand, so I thought of analyzing a piece by a different composer.

@caters I'd be interested how you analyze a piece by someone like Joplin or Gershwin.