Mazurka no.42 - Op.67 no.1: G-major

Recording by Ashkenazy

This mazurka is just so bouncy because of all the grace notes and sixteenth notes, etc.

Mazurka no.41 - Op.63 no.3: C#-minor

Recording by Ashkenazy

The melody of this mazurka is really phenomenal; it makes me wonder what was going on in Chopin's life at the time that he wrote it. Was there something very emotionally-devastating that happened to him?

Mazurka no.40 - Op.63 no.2: F-minor

Recording by Ashkenazy

I guess one thing that defines this piece is the consanant skips: they really stood out to me.

Mazurka no.39 - Op.63 no.1: B-major

Recording by Ashkenazy

There is definitely a lot of call and response going on in this mazurka. Not only is this occurring consecutively in the left and right hands, but also just in one hand where certain phrases are repeated.

Mazurka no.38 - Op.59 no.3: F#-minor

Recording by Ashkenazy

The way that Chopin used triplets in this mazurka made it much more lively. And surprisingly, the modulation that Chopin used actually made sense to me this time. Granted, he DID modulate from F# minor to F# Major, but still...

Mazurka no.37 - Op.59 no.2: Ab-major

Recording by Ashkenazy

The timid skips to higher notes made this mazurka kind of cute, in a way. Additionally, it still sounds like a dance in some parts because of the arpeggiated bass: there really are always at least two sides to Chopin's mazurkas.

Mazurka no.36 - Op.59 no.1: A-minor

Recording by Ashkenazy

The wise use of appoggiaturas is really what makes the melody at the beginning of the piece so effective. I really like the F natural that he throws in with the tonic.

Mazurka no.35 - Op.56 no.3: C-minor

Recording by Ashkenazy

There were two modulations in this mazurka, I think. Unfortunately, I am still unclear as to why Chopin chose to modulate to the keys that he did.

Among his mazurkas, this seems to be one of the more heartfelt ones.

Mazurka no.34 - Op.56 no.2: C-major

Recording by Ashkenazy

This mazurka had a bit of Spanish flavor to it, perhaps because of the chromaticism and the way that the ornamentations were placed.

Mazurka no.33 - Op.56 no.1: B-major

Recording by Ashkenazy

I am wondering why Chopin modulated to Eb major from B major, specifically why he chose Eb major. Apparently my theory skills aren't up to par yet, because theory-wise, it doesn't make sense to me.

Mazurka no.32 - Op.50 no.3: C#-minor

Recording by Ashkenazy

Seriously, the variance of feeling that Chopin expresses in all of his pieces is phenomenal. This one is a prime example of that because there are sentimental and majestic sections that are both contained in the piece.

Mazurka no.31 - Op.50 no.2: Ab-major

Recording by Ashkenazy

I just really enjoyed the genuine, enthusiastic liveliness of this piece!

Mazurka no.30 - Op.50 no.1: G-major

Recording by Ashkenazy

The syncopation in this mazurka is spunky and quite unexpected. It just doesn't seem natural to accent the second beat so heavily, which makes listening to this mazurka uniquely exciting.

Mazurka no.29 - Op.41 no.4: Ab-major

Recording by Ashkenazy

The pulse of this mazurka was very strong. I liked the way that Chopin wrote the opening melody to have five beats of eighth notes followed by one quarter note.

Mazurka no.28 - Op.41 no.3: B Major

Recording by Ashkenazy

The main theme of this mazurka is very simple but effective. All Chopin does is use accented passing tones to move to the tonic chord. He repeats this sequence three or four times to constitute the main theme.