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Step 1
Step 2
Example 4.45: Preparatory Exercises for Connecting Bass Line
Melodic embellishments
The A-flat Major Waltz has numerous melodic embellishments in its first waltz section.
The first version of National edition has the most ornaments. One of the most challenging
melodic embellishments appears in m. 11 in ossia in the first version of the National edition (Ex.
4.46). This embellishment requires rapid playing and contains many notes.
Example 4.46: Frédéric Chopin, Waltz, Op. 69, no. 1, m. 11
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Analysis of the embellishment reveals that it consists of a turn figure surrounding A-
natural on the first four notes followed by a diminished-seventh arpeggio (Ex. 4.47). Practice
these two patterns separately. In practicing the turn figure, students can set their position by
hiding the thumb or tucking it under the other fingers.
Example 4.47: Frédéric Chopin, Waltz, Op. 69, no. 1, m. 11 (analysis)
On practicing the diminished-seventh arpeggio, there are two preparatory exercises (Ex.
4.48). The first exercise involves practicing the arpeggio as a rolled chord (step 1). Chopin taught
his students to imitate glissandi in order to play a fast scale smoothly, which is applicable in this
passage. The next step is to practice turning the thumb under (step 2). Teachers can direct
students to use a flexible wrist and to move the thumb under quickly as soon as the G-flat is
played. Finally, students can play the passage as written, placing their fingers on the middle of
the keyboard to reach both the black keys and white keys comfortably while keeping their
fingers close to the keys.
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Step 1
Step 2
Example 4.48: Preparatory Exercises for Arpeggio Pattern
B Minor Waltz, Op. 69, no. 2
The B Minor Waltz, Opus 69, no. 2 is one of the most popular Chopin waltzes. It is in
three parts with a time signature of 3/4. The B Minor Waltz has three main themes (Ex. 4.49).
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In the trio section, there is a key change to B major.
Example 4.49a: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 1-4 (“waltz 1”)
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The example is from the Schirmer edition edited by Mikuli.
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Example 4.49b: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 33-36 (“waltz 2”)
Example 4.49c: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 65-68 (trio)
The challenges discussed below were selected from the three versions that I recommend
for teaching: the Schirmer edition, and the first and the second versions of the National edition.
These challenges are articulations, a melody in double notes, and different moods between
sections.
Articulations
One of the major challenges is playing notes that are simultaneously marked with a
phrase line and staccato markings. There are two examples from this waltz.
The first example is the scalar pattern in mm. 31-33 in the second version of the National
edition (Ex. 4.50). Based on Kleczyński’s interpretation of Chopin’s five-finger pattern
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exercises, the articulation for these measures is a heavy staccato, holding longer than the normal
staccato.
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The suggested preparatory exercise is using a staccato touch to play the scalar
pattern. After that students can work on the passage with a heavier staccato, which is in between
legato and staccato.
Example 4.50: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 31-34
The second example of articulation is found in the first version of the National edition,
mm. 53-56. In this passage, the right-hand line consists of a series of two-note slurs with
staccato indications on many of the notes (Ex. 4.51). Students can play the repeated eighth notes
with a light touch and gentle staccato. Teachers can remind the students to decrescendo on the
second note of the two-note slurs, lifting the wrist gently after the second note (Ex. 4.51).
Example 4.51: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 53-56
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Kleczyński, 29.
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The next step is finding fingering. Teachers can help students to have the same fingering
on the repeated notes, which Chopin did.
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In addition, teachers can direct students to use their
fingertips to play this delicate sound rather than using arm weight, which how Chopin taught his
students.
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Elise Peruzzi, a friend and student of Chopin, described Chopin’s playing, “Every
little note was like a bell, …”
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Chopin used to say to his students, “feel the key rather than
striking it!”
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A melody in double notes
One of the most difficult technical challenges in the B Minor Waltz is playing a melody
in double notes in the second half of the trio section. The example is from mm. 81-84 of the
Schirmer edition (Ex. 4.52).
Example 4.52: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 81-84
The first step is finding a good fingering. Teachers should help students find a fingering
that allows the top melody to remain legato. It will be necessary to use the thumb on the black
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Eigeldinger, 48.
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Ibid.
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Niecks, 339.
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Eigeldinger, 31.
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