It has both tripartite and sonata structural principles.

The whole song reproduces the single-trilogy style. The music image of section A is fresh and bright, and the pulsating and vibrant breath of spring comes to your nostrils. The B section of music is a contrasting middle section, providing motivation for the work, and seems to be reviewing the process from cold winter to spring, from pain to light. Section A’ is a recapitulation section, showing the new world of melting ice and snow and surging spring tide through changes in tonality and harmony. The author will focus on the performance art of the piano lyrical sketch "To Spring" from several aspects such as "hand", "body" and "mind".

Section A 1 (measures 3-22) Section A is a non-square section with a contrasting two-sentence style. The melody of section A is all in the bass part, and the right hand plays weakly in the high range, giving people a simple and warm feeling, full of praise and praise for spring. It seems that the long-awaited Nordic spring has finally arrived. The ice and snow have melted, the earth has revived, and everywhere is full of life. In the first phrase a, the right-hand accompaniment repeats the same sound only to change the harmony. The left-hand melody is a progressive melody, with subtle changes in intensity. The mode and tonality are very stable, all in the #F major. Tune in.

Section B (measures 23-36) can be seen as a split development middle section. The material is derived from the material in the presentation section. The sound range is lowered by two octaves and the mode is also changed. From #F major to #F minor, the mood becomes darker and more tense with the changes in register and mode.

Starting with Ladu p, you can think of 23-26 as one sentence, and then the melody in bars 27-30 is moved up a major third, making a modulo progression, and then the phrase is divided into smaller parts, ending in 31 -32 is a unit, 33-34 is then advanced to a major third, and 35 and 36 are divided into smaller units. Through such continuous division and advancement, the B section has been pushed to a climax, which is what music is all about. The emotions expressed also reached a very tense tone, and section B ended.

The author's tone:

Edward Grieg (1843-1907), a Norwegian artist and composer, was one of the important representatives of the national music school in the 19th century and created works Extremely rich. He studied at the Leipzig Conservatory of Music as a child and later founded the Norwegian Music School. His creative style has a strong Norwegian national flavor.

"Piano Lyrical Pieces" records Grieg's feelings about the magnificent scenery and cultural scenery in northern Norway. Each piece of music is not long, but has distinctive images and characteristics. As a performer of the music, you should go deep into it. Understand and analyze the creative background of the work in order to better interpret the work.

This article takes two works "Troldhaugen's Wedding Day" and "To Spring" from Grieg's "Piano Lyrical Pieces" as examples, in terms of creative background, creative methods, and performance techniques. Conduct in-depth discussions and research.

The full text*** is divided into three parts. The first part analyzes Grieg's "The Wedding Day of Troldhaugen" from the aspects of musical structure, harmony use, and creative techniques. The second part analyzes Grieg's "The Wedding Day of Troldhaogen". The first part analyzes Grieg's "To Spring" from the same perspective, and the third part makes a comparative analysis of the creative background, structure and harmony of the two works, and further explores the similarities and differences.