第五章 結論
譜例 56 2a 動機及其運用
三、 調性關係運用：
此首樂曲為 A 小調之鋼琴奏鳴曲，於導奏中，調性較不明顯，運用許多
屬音 E 及屬和弦，而導奏最後一小節以Ⅴ7解決至Ⅰ進入主調 A 小調。呈式部
Mixolydian 及 Lydian 教會調式，為此樂曲中較特殊之地方。
四、 節奏及音型運用：
五、 多聲部旋律運用：
於本樂曲中，可發現普羅高菲夫於許多樂段中出現多聲部與多旋律線
條，如：第 86–93 小節，此樂段中共有四個聲部，左右手各分為兩聲部，右
手上聲部為一個旋律線條，而左手內聲部亦為一個旋律線條。而在樂曲中，
有時亦出現卡農型態之運用，如第：96–97 小節以卡農型態輪流出現於雙手；
第 140–145 小節，亦出現卡農型態於上聲部及內聲部。
普羅高菲夫《第三號鋼琴奏鳴曲》雖與《第一號鋼琴奏鳴曲》同為單一樂章
奏鳴曲，但風格卻有極大差異。《第一號鋼琴奏鳴曲》傾向浪漫樂派風格，當時因
受到拉赫曼尼諾夫、史克里亞賓…等人之影響，普羅高菲夫之個人特色風格尚未
表現出來。而《第三號鋼琴奏鳴曲》與《第一號鋼琴奏鳴曲》相隔八年，則頻繁
運用半音階、激動之節奏快速音群、快速連續跳音或連續斷奏和弦、具高能量敲
擊樂器般之節奏律動、快速連續八度彈奏、大跳技巧及豐富之度之多聲部彈奏…
等創作手法，呈現出普羅高菲夫個人不同風格之特色。筆者透過研究普羅高菲夫
生平、鋼琴奏鳴曲之特色及《第三號鋼琴奏鳴曲》作品，對此樂曲有更進一步的
了解，期許透過此研究對演奏者有所助益，並能更貼近作曲家之音樂詮釋。
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