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Table 2: Comparing the Structures and Total Measure Numbers of Frédéric Chopin, Waltz, Op.
69, no. 2
Structure
Total Measure Numbers
Alfred
Henle (2nd)
National (4th)
Paderewski (1st & 2nd)
Schirmer
AA BA′ BA′ CC A BA′
176
Henle (1st)
AA BA′ CC A BA′
144
National (3rd)
AA BA′ BA′ CC A
144
National (1st & 2nd)
AA BA′ CC A
112
The major differences in notes are found in the A′ section and C section. Differences in
the A′ section result in different melodic notes. Among the ten versions, the main differences
were between the versions based on the earlier copy and Fontana’s edition (Ex. 3.5). Two
versions based on the earlier copy, the Henle (1st) and National (2nd) editions, have the same
melodic notes in the A section. However, the versions based on the Fontana editions have a
longer chromatic scalar passage included in these measures. The National (1st and 3rd), and
Paderewski (2nd) editions are all similar to Fontana’s versions. These three versions were based
on either a later autograph copy or the Polish edition.
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Example 3.5a: Frédéric Chopin, Waltz, Op. 69, no. 2, A′ section (2nd version of the Henle
edition, based on the earlier autograph copy)
Example 3.5b: Frédéric Chopin, Waltz, Op. 69, no. 2, A′ section (1st version of the Paderewski
edition, based on the Fontana’s version)
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Differences in the C section exist between the different versions. These differences
involve pitches in the right-hand melody and bass, melodic rhythmic patterns, ornaments, and
articulations. The melody is either written as a single-line melody or as a melody in double notes
in the second half of the C section (Ex. 3.6). The single-line melody was taken from an earlier
copy. The first version in the Henle edition and the second version of the National edition
include a single-line melody throughout. The remaining versions have a melody in double notes.
Notably, only the third version of the National edition began the melody in double notes eight
measures earlier.
Example 3.6a: Frédéric Chopin, Waltz, Op. 69, no. 2, 2nd half of the Trio section (1st version of
the National edition)
Example 3.6b: Frédéric Chopin, Waltz, Op. 69, no. 2, 2nd half of the Trio section (2nd version of
the National edition)
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There is one difference in the use of a tie in m. 1 on the first melody. Only two versions
in the National edition (1st and 2nd) do not have a tie in the main text. However, all of the other
seven versions include the tie; in the first version of Henle, the tie is put into a parenthesis,
indicating the performer’s choice to use the tie or not.
I recommend the Schirmer edition for teaching students or self-teaching and performing
this B Minor Waltz. It is based on the Fontana version and includes numerous performance
markings, rather than the other versions based on the copies of Autographs. For example, the
first version of the National edition based on the later Autograph in mm. 13-16 has different
rhythms in a melodic line, additional accent markings, and ornaments, and a lower bass line,
which are different from the Schirmer edition (Ex. 3.7).
Example 3.7a: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 13-16 (1st version of the National
edition)
Example 3.7b: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 13-16 (Schirmer edition)
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The only problem in using the first version of the National edition is that it gives a strong
cadence in mm. 13-16, which feels like the end of the piece. Historically, this has been the
version that has been most performed. Among the versions based on the Fontana version, I
finally picked the Schirmer edition because it has copious performance markings and fingerings,
including Chopin’s fingerings as well. Additionally, the page layout is good, written out on four
pages.
I also recommend both the first and the second versions of the National edition for
teaching. The second version, the least complicated of the two, is appropriate for early
intermediate students, while the first version, with more leaps, ornaments, double notes, longer
passagework, and more rhythmic challenges, is better suited to upper intermediate students. Both
versions include pedagogically appropriate elements for improving different touches such as
staccato and leggiero in the right-hand melody, which are the characteristic of the autographs.
Moreover, those two versions are the shortest versions, and are written out with repeat signs, for
a total of three pages. Both of these short versions will help young students feel comfortable.
However, those versions lack most of the performance markings, so I recommend them for
teachers who like to work with students on new interpretations.
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CHAPTER 4
PEDAGOGICAL ANALYSIS OF SELECTED WALTZES: OPUS 64 AND 69
General and Overall Performing Skills for Chopin Waltzes
This section begins first with a general pedagogical analysis of the five selected Chopin
waltzes. Technical considerations that pertain to all of these waltzes will be listed, along with
practice suggestions and preparatory repertoire. Chopin’s own ideas about teaching as found in
his Method and as communicated to us through his students and his contemporaries help to form
the basis of analysis. The items to be explored here include the left-hand accompaniment,
melodic line, balance, contrast between sections, velocity, and the use of pedal.
Following this general analysis, each of the five waltzes will be investigated individually,
highlighting specific technical and musical challenges as found in each individual work.
1. Left-hand accompaniment
The accompaniment pattern found in most of the Chopin waltzes is a very typical pattern:
“bass note-chord-chord.” This three-beat pattern is associated with the strong-weak-weak pulse.
The technical challenges include first being able to move quickly from the bass note up to the
chord and then from the chord back down to the bass note – all without missing a beat.
One practice technique would be to isolate the left-hand accompaniment by itself and focus
solely on moving from the bass note to the chord. Ask the student to play the bass note out loud
and then move as quickly as possible to the chord. But, when the student gets to the chord, he or
she should just touch the keys silently or even hover in the air over the keys, so that he or she is
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