The key of Fantasia is first changed from D to F. The original tuning of D is 1 sharp 235 flat 6 starting from the lowest note. After switching to F key, the tuning starting from the lowest bass is 61 flat 2346. Then it changes to the key of B flat. At this time, starting from the lowest bass, the tuning is 35 flat, 671, and then returns to the key of D. Just play the tuning at the beginning of the music.

1. Introduction to Fantasia

Fantasia is a kind of instrumental music with free and easy form and imaginative music. The music has the characteristics of fantasy, freedom and unrestrained, and is rich in romantic color.

2. Popular situation

Fantasias in the 16th and 17th centuries were often played by string instruments (mainly lute) or keyboard instruments, often using polyphonic imitation techniques (basically the same melody in Different high and low voices appear alternately) to freely develop the theme.

Afterwards, Fantasia was often used as a prelude to fugues and sonatas, in contrast to the rigorously structured fugues and sonatas themselves, such as J.S. Bach's "Chromatic Fantasia and Fugue" by W.A. Mozart "Fantasia in C minor".

Music characteristics and representative works

1. Music characteristics

Fantasia is an improvised instrumental piece. Composers are free to compose according to their own whims. The music has the characteristics of fantasy, freedom and unrestrained, and is rich in romantic color. According to the changes and development of fantasy and the characteristics of the music, it can be divided into the following four types.

1. Early fantasies are like preludes, often placed before fugues. This type of fantasy is often grand in scale and uses polyphonic structure. For example, Bach's "Chromatic Fantasy and Fugue in D Minor" and Mozart's "Fantasia and Sonata in C Minor"

2. An independent instrumental fantasy that is not preceded by other works. The scale of this type of fantasy is often connected by many contrasting paragraphs, and the speed and tonality of each paragraph are inconsistent. In addition, there is a Fantasia in the form of a suite composed of several independent movements. For example, Saint-Sa?ns's "Harp Fantasia", Beethoven's piano chorus and orchestra's "Choral Fantasy", etc.

3. In the 19th century, opera-themed fantasies and folk-song-themed fantasies appeared. They were all based on ready-made melody themes with free variations. For example, Glinka's Russian folk song-themed fantasy "Kamalinskaya Fantasy" and Liszt's "Hungarian Fantasy" for piano and orchestra.

4. In the 19th century, there were also orchestral title music works called fantasies (symphonic fantasies). They often had specific content descriptions, were close to symphonic poems in nature, and had a freer form. For example, Tchaikovsky's symphonic fantasy "The Tempest" and so on.

2. Representative works

Chopin's "Fantasy Impromptu in C sharp minor"

The repertoire of this piece of music means that this piece of music has the characteristics of a fantasy. , and has the nature of an improvisation. The music adopts the form of a complex trilogy. The first and second parts are passionate Allegro, with fast melody running up and down, showing surging passion.

The second part turns to the middle section, playing a cantabile lyrical theme. The melody has a dreamlike mood, full of longing and hope for the future. The third part is a reprise of the first part.

But the speed is faster and the enthusiasm is higher. When the music calms down from the climax, the first sentence of the second part of the lyrical singing melody appears again in the bass area. But this is the end. The gentle and low sound of the piano seems to sink into quiet meditation, leaving endless beautiful moods in people.