, drawn from the series of overtones as they are
generated and reinforced by the very nature of the pianoforte. From
the wide spacing of the lower tones of the series Chopin derived the
extended grouping of his arpeggios, _e.g._,

[Music]

[Music: Prelude, No. 19]

so that the _chord_ of the _10th_, instead of the former grouping
within the octave, may be considered the basis of his harmonic scheme.
By this means a great gain was made in richness and sonority. Another
striking feature of Chopin's style is found in those groups of
spray-like, superadded notes with which the melody is embellished. It
is evident, in many cases at least, that these tones are not merely
embroidery in the ordinary sense. Rather do they represent a
reinforcement of the overtones, ideally or actually present, in
connection with bass tones and chords used in the lower part of the
musical fabric. As a striking example[222] see the long series of
descending non-harmonic tones in the Coda of the _B major Nocturne_,
op. 9, No. 3, and note the delicate colors in the closing arpeggio
chord (to be played with a free use of both pedals).

[Footnote 222: For a commentary on this passage see D.G. Mason's essay
on Chopin in _The Romantic Composers_.]

[Music]

In general, Chopin's style is homophonic--wondrous lyric melodies
which seem to float on waves of richly colored sound. But there is
also much subtly used polyphony, _i.e._, delightful phrases in inner
voices and imitative effects between the different parts. In
comparison, however, with Schumann's style (which is largely on a
polyphonic basis) Chopin is a decidedly homophonic composer.[223] A
great deal of interesting and instructive reading on Chopin is
available and the following works are especially recommended: _Chopin,
the Man and his Music_ by Huneker; the _Life of Chopin_ by Niecks; the
essay on Chopin in Mason's _Romantic Composers_ and in Hadow's
_Studies in Modern Music_; the volume on Chopin by Elie Poiree in the
series _Les Musiciens Celebres_; and the same by Louis Laloy in the
series _Les Maitres de la Musique_; the _Life_ by Liszt (well known
and most valuable as coming from a contemporary and brother musician);
finally a somewhat rhapsodic essay by H.T. Finck in _Chopin and Other
Essays_.

[Footnote 223: For a detailed analysis of many special features of
style see the volume by Edgar Stillman Kelly, _Chopin the Composer_.]

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