Analyzing Raindrop Prelude

[allthumbspiano]

I'm learning Chopin's Raindrop Prelude and am trying to learn some theory at the same time.  I have three questions so far about it, if someone could help that would be great.  In measures 9-10 is he modulating from Db Major to Gb Major?  That is what it looks like to me.  I'm writing down the roman numerals for the chords, should I make the Gb the new I chord because of the modulation or should I continue writing the chords as if it didn't modulate (making Gb a IV chord)?  I can't figure out the chords on beats 3&4 of measure 12, I'm not sure if they are considered chords or something else as I'm new to this theory stuff, any idea?  Same thing in measure 16.

[healdie]

Not being too familiar with the piece I'll try and help as best I can, to me it doesn't look like a permanent modulation into Gb so I would treat it as the IV chord, also the chords you mentioned I believe to be simply Bb Minor 7 to Db Minor, I am just splitting them into the full beats so even though the Ab falls on the off-beat I would consider them part of that chord because the harmony hasn't changed it is just sort of being spread out a bit.

[bachbrahmsschubert]

Chopin can be very complicated. Enjoy analyzing the C# minor section!  

Ok, stick with me here; this is classic Chopin. At measure 9 he is in Ab minor. The modulation occurs on beat 4 of measure 8; this is called a "phrase modulation." There is no pivot chord, he just changes keys at the beginning of a new phrase. He does this VERY OFTEN.  Beat 4 of measure 9 is your pivot chord to Gb major. It's functioning as a V7/VII in ab minor and a V7 in Gb major. In beat 1 of measure 10 he gives you the I chord, beat 3 would be a V chord. It is a very brief modulation, as beat 1 of measure 11 would be another pivot chord. It's functioning as a ii6/4 in Gb major and i6/4 in Ab minor. Beat 3 of measure 11 would be a V7 which resolves back to Ab minor in measure 12. Don't be confused by his uses of Ab major, he is blurring the lines between major and minor so the ear is never satisfied with one key, another thing he did in just about every piece he wrote. Just make sure you're writing I instead of i for those major chords!

Beats 3 and 4 of measure 12 are interesting. The first thing I notice is that he removes the pedal because he doesn't want the harmonies blurred. What is interesting here is the repeated Ab throughout the piece. Notice how he starts in D flat major (repeated note Ab signifying the dominant), he then modulates to Ab minor (repeated note signifying the tonic). This type of modulation with the repeated note is absolutely perfect, because at any time he could treat the Ab as a dominant or a tonic; or he could respell it to G# and go to a number of keys (something he does leading into the B section). Now the question becomes at which points would the repeated note be considered a pedal tone or as part of the chord? In this instance (beat 3 and 4 of measure 12) I would not treat the Ab's as chord tones. I would label beat 3 as a ii chord and then consider beat 4 as an appoggiatura, as the progression ii - iv is backwards harmony and very weak, something I don't see Chopin doing. This, like many other things with music, could be debatable.

Now think about what we have experienced in 4 measures of music. Was Chopin a genius or was Chopin a genius!? So often he will be in multiple keys within 2 measures of music, something he made very popular in the early 19th century. It's very easy to get confused.

Considering that you're "new to this theory stuff" I think I may have confused you further, but Chopin is very very complicated and will consequently be nearly impossible to analyze until you're "advanced" in this theory stuff. I hope I helped just a tid bit!

Best wishes,

[allthumbspiano]

Wow, a lot of good info here.  Thanks for the informative reply.  I was debating weather or not to ask, I'm glad I did.  I'm actually understanding it but am surprised that what I thought were chord changes were a form of modulation that I haven't heard of yet.  I'll have to learn how to spot those instead of thinking they are just chord changes.  I also never heard of an appoggiatura but will look into that too so I will know how to spot them as well.  Maybe I'll continue analyzing some easier pieces before going further into this one but at least I got some good info out of this already. 
My goal is to one day, as I am playing, know what I'm doing instead of just playing and listening.  Like if I am playing a V7 chord and about to go to the one I would like to be thinking about that as I am playing.  Probably not necessary but I think I would get more into the music doing that.
Thanks again.