Main Structure of Chopin's Polonaise-Fantasy

Introduction (mm. 1-23)	mm. 1-2--ab: i-VI-VII-bbII (-N6-V7) mm. 3-6--V7 in ab ends unresolved mm. 7-8--eb: i-VI-bVII-bbII-N6-V7 mm. 9-17--change of key center to E           major, with a partial revela-           tion of the polonaise theme mm. 18-22-change of key center to ab mm. 23-24--l.h., on V of Ab, starts a            polonaise  riff to end intro-            duction
Part A- Polonaise (mm. 24-147)	mm. 24-43--full revelation of polonaise            theme mm. 44-65--short reprise of polonaise            theme with new, transitional            material mm. 66-79--New material, changing from            Ab to V7b9 of fm in key center mm. 80-91--Reprise of new material, now            in E major and modulating mm. 92-107--Reprise of polonaise theme             starting in Eb major mm. 108-115--Reprise of polonaise theme              now in Ab minor mm. 116-127--New material, still in              polonaise mm. 128-147--Change to B minor; right              hand has first broken octave              figuration, then scalar              figuration on a i 6-4 in bm,              fading away in slow chords
Part B- Nocturne and Reprise of Polonaise (mm. 148-225)	mm. 148-167--Nocturne theme, with a              little introduction in mm.              148-151 mm. 168-181--Reprise of nocturne theme,              ending with a pause in mm.              180-181 mm. 182-197--Material of polonaise based              on material from mm. 116-              127 mm. 198-205--V7 in B; single, double,              and triple trills mm. 206-214--Coda of the nocturne theme mm. 215-216: Reprise, B: I-bIII-bvii-bii

          

Part C-Transition (mm. 226-241)	mm. 226-229--Stormy passage that ends in              3rd inversion of V7 in Gb mm. 230-233--Another stormy passage that              ends in 3rd inversion of V7               in A mm. 234-237--Another stormy passage of              even more instability in              harmony mm. 238-241--Rising octave passage on              a camouflage of V7 through              nonharmonic passing tones
Part D- Coda (mm. 242-288)	mm. 242-248--Triumphal reprise of polo-              naise theme, now in rhythmic              movement in triplets, now in              A-flat major mm. 249-253--Sudden change to B major,              then a cascade of resolving              secondary dominants ends              with a ii6 in A-flat mm. 254-280--Triumphal reprise of the              nocturne theme in A-flat              major, again in triplets.              Calms down in power and              texture at about m. 280. mm. 281-288--Laid-back coda, ending with              a sudden ff in m. 288