All right, I'm going to post a brief overview of the exposition of the first movement of the Chopin F minor concerto
. This is not in any way intended to be a detailed or complete analysis.
Orchestral introduction to the movement. The main themes are introduced. In the last few bars of this introduction there are hushed half-diminished chords, alternating voicings (look at the score and you'll see what I mean). This prepares the listener for the entrance of the piano.
The piano has its own little introduction, leading into
Statement of the first theme from the piano, with a little ornamentation.
More of the thematic material, a little bit of development. Gains momentum near the end of the passage.
Bars 101-104: Interlude with a gradual ascending figure from the piano, and then a fast descending figure (again, look at the score). Leads into
Another key melody, this time woven between sixteenth notes (semiquavers) in the RH. Near the end of the passage, the piano gets more arpeggiated figures, in a gradual crescendo to
Ascending figure similar to that in 101-103.
Passage similar to the preceding one (105-112). Arpeggios near the end lead into A flat major for the next theme...
Theme in major in the piano. with slight ornamentation.
Quite a bit of ornamentation, with fast runs (a couple of them are 18 against 4, again look at the score for details).
I isolated these few bars because they contain a major transition: the small notes in the piano at the end of bar 148, and the simple but effective following two bars, solidifying the new C minor tonality.
As I mentioned earlier in the thread, my favorite bars of the piece. The modulation of keys is as follows:
C minor-G minor-D minor-A minor-E minor-D major/minor (you'll see what I mean when you look at the score)-A flat, not counting small transitions.
The section from 165-168 is particularly lovely.
Running bass line against RH melody in chords. Modulates back to F minor.
Descending arpeggio figures in the RH, transitioning back once again to C minor. Again, look at the score for details.
The same 1-bar ascending figure used in successively higher octaves; once you learn it, you can play those whole 4 bars.
Trills/tremolos in both hands, concluding the exposition.
Performance tip: For these two bars, the RH is written as a trill on the D and Eb, with a sixteenth-note tremolo going on at the same time between the B natural and G around it (look at the score, otherwise you won't know what I'm talking about). This is performed by doing a tremolo between the thirds Eb-G and B natural-D, so you get the trill between the bottom note of the first third and the top note of the second third, and the tremolo between the top note of the first one and the bottom note of the second one. If that doesn't make sense to you please don't hesitate to tell me and I'll try to be clearer. I don't do a very good job explaining musical concepts in words...