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A good preparatory piece is Franz Schubert’s Waltz in B Minor, Op. 18, no. 6. This piece 
comprises 32 measures, is in ternary form (A-B-Aʹ′), and has a key change to B Major in the Aʹ′ 
section (Ex. 4.6). 
 
 
 
Example 4.6a: Franz Schubert, Waltz, Op. 18, no. 6, mm. 1-4 (A section) 
 
 
 
Example 4.6b: Franz Schubert, Waltz, Op. 18, no. 6, mm. 17-20 (Aʹ′ section) 
 
 
5. Velocity 
 
Many students struggle when they have to play pieces at a fast tempo. There are several 
suggested steps for helping students work toward a fast performance tempo. The first step is 
directing the students to begin with slow practice. Students should begin with a reasonably slow 
tempo so that they can play all the notes comfortably and still sound musically appropriate. The 

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second step is helping students to understand the patterns in the music. Chord analysis is very 
helpful, as is topographic analysis so they can quickly memorize the pattern. This type of 
analysis will help students to know exactly how to move their hands. The third step is directing 
students to minimize their physical movements by being closer to the key, moving the hand as 
determined by the pattern or the grouping of the notes, and using a lighter touch. Chopin 
suggested that his students imitate the motion of playing a glissando, moving laterally quickly 
and smoothly on the keyboard.
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 Students can use metronome practice to gradually increase the 
speed. Lastly, teachers can help students find ways to relax in long technical passages. Students 
can relax their arms both on the longer notes in the passages and between phrases. Learning to 
quickly relax is very important, especially when playing in a fast tempo. 
 
A preparatory piece is Clementi’s Préludes et Exercices in A-flat major. This piece was 
one of Chopin’s favorite pieces, which he assigned early on to every student.
128
 Chopin let his 
students practice this exercise in various ways: soft or loud, slow or fast, staccato or legato.
129
 
Because good technical ability is necessary to play fast, this piece will be useful. This piece is 
two pages long and includes scales, sequences, and various dynamics equally in both hands (Ex. 
4.7).  
 
 
                                                 
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 Mikuli, iv.  
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 Kleczyński, 34-35.  
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 Ibid.  

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Example 4.7: Muzio Clementi, Préludes et Exercices in A-flat major, mm. 1-2 
 
 
6. Use of pedal 
 
Most students are challenged by the use of pedaling in playing a waltz. Ekier discussed 
how to use the pedal based on his research on Chopin’s original pedal markings. Ekier suggested 
using harmonic (legato) pedaling. He discussed that pedaling once per measure would be 
appropriate. Specifically, Ekier recommended a shorter pedal or no pedal if a bass note is held by 
the hand or if the harmony is changed on the third beat. If a harmony extends for two measures, 
Ekier recommends using just one pedal.
130
  
Pedagogical Analysis of Five Waltzes from Opus 64 and 69 
D-flat Major Waltz, Op. 64, no. 1 
 
The D-flat Major Waltz is in ternary form (A-B-Aʹ′) with a time signature of 3/4. The 
tempo marking is Molto vivace with a slower middle section (Ex. 4.8). The waltz has 124 
measures total: the A section with 36 measures has a repeat sign in the last 16 measures; the B 
section with 16 measures is repeated with an ornamented melody; and the Aʹ′ section is very 
similar to the first A section, but ends with a very fast four-measure scale.  
 
                                                 
130
 Ekier and Kamiński, “Source Commentary,” Walce, series B, 2.  

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Example 4.8a: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 1-4 (A section: 1st Theme) 
 
 
 
Example 4.8b: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 21-24 (A section: 2nd Theme) 
 
 
 
Example 4.8c: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 36-40 (B section) 
 
 
The D-flat Major Waltz, Op. 64, no. 1 includes four selected major challenges: repeated 
circular pattern, polyrhythm, trill, and scalar passage. 
 

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1. Repeated circular pattern 
One of the biggest challenges in this waltz is playing the repeated circular pattern of four 
notes that initially appears in mm. 1-7 (Ex. 4.8a). It is a challenge to play with an even sound 
when students play the series of the pattern within a fast tempo. The teaching suggestion is to 
practice using dotted rhythms, which are (1) short-long rhythm and (2) long-short rhythm (Ex. 
4.9). This exercise also helps develop finger independence. My suggested fingering is 1-2-4-3 on 
the notes G
4
–A-flat
4
–C
5
–B-flat
4
. 
 
 
 
Example 4.9: Preparatory Exercises with Dotted Rhythms 
 
 
The next step is to practice the pattern using groups of notes (Ex. 4.10). The first groups 
would consist of two-note chords: G
4
–A-flat
4
 and B-flat
4
–
 
C
5
 (step 1). The other grouping could 
be a three-note chord plus one note: G
4
–A-flat
4
–C
5
 and B-Flat
4
 alone (step 2). This will help 
students understand the pattern, which will eventually help in playing at a fast tempo. 
 
 
Step 1 
 

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