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more beneficial to students and help them to create different sounds. The possible fingerings on
the trills preparatory exercises are 2-3, 1-3 and 2-4.
Step 1
Step 2
Step 3
Step 4
Example 4.16: Preparatory Exercises for Trills
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4. Scalar passage
One of the most difficult challenges of this waltz is the fast scale that ends the waltz in
mm. 120-124. The National edition provides Chopin’s suggestion of playing the A-natural with
the downbeat in m. 123, taken from a student’s copy.
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Based on Chopin’s annotation, the notes
in this scalar passage could be divided into three notes per beat in mm. 121-122 and two notes
per beat in m. 123 (Ex. 4.17). This even division of the rhythms was observed in Rubinstein’s
recording.
Example 4.17: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 120-124 (rhythms)
In his “Sketch for a Method,” Chopin states that when pianists play a fast scale with
rhythmic evenness, then the audience will not notice any inequalities in sound quality.
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Therefore, students should make rhythmic evenness a priority. Students can practice the
suggested fingering in Ex. 4.18. The fingering is based on Chopin’s original fingerings with 5
and 3 on the first two notes. Chopin frequently used the thumb as a strong finger to bring out a
non-chord tone. An example of this is seen on the A-natural in m. 123. Taking some extra time
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Ekier and Kamiński, “Source Commentary,” Walce, series A, 3.
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Chopin, “Sketch for a Method”; cited in Eigeldinger, 195.
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before the F
7
in m. 120 will help students prepare both hands for the leaps that occur at this
point.
Example 4.18: Frédéric Chopin, Waltz, Op. 64, no. 1, mm. 120-124 (fingering)
C-sharp Minor Waltz, Op. 64, no. 2
The C-sharp Minor Waltz is a popular concert piece of Chopin’s. It is in rondo form (A-
B-C-B-A-B) with a time signature of 3/4. The tempo is marked at Tempo giusto in the beginning
of the piece with più mosso in the last two B sections, and più lento in the C section. In the C
section, there is a key change to D-flat major. The waltz is 192 measures long. Each section is 32
measures long with the first sixteen measures repeated in the second half of the section. The
main theme of each section has distinct and recognizable characteristics: the A section has sixths
and two voices; the B section has repeated circular patterns; and the C section has a slower
tempo with many ties (Ex. 4.19). Each section begins with ascending leaps: the A section has the
sixth, while the B and C sections have the octave. Chopin’s use of leaps to begin each section
helps to tie together the different sections.
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Example 4.19a: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 1-4 (A section)
Example 4.19b: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 32-36 (B section)
Example 4.19c: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 64-69 (C section)
There are three major challenges: double notes, two-note slurs, and a repeated circular
pattern.
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1. Double notes
One of the biggest challenges in the piece is the double notes in the right hand appearing
in mm. 3-4 and in similar passages (Ex. 4.20). The passage is challenging to students because
they have to bring out the top melody with the correct rhythm.
Example 4.20: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 3-4
Finding a good fingering is a necessity in order to master this passage. My suggested
fingering can be seen in the example above (Ex. 4.20). The fingering is based on Chopin’s
preference for placing thumbs on black keys and playing repeated notes with the same finger.
The use of this fingering ensures a better legato for the melodic line.
The next exercise is to practice the top melodic line alone and then the accompanimental
alto voice alone (Ex. 4.21). Students should practice slightly overlapping the notes of the melody
for legato playing. In step 2, students can add the embellishment for the next stage of practice.
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Step 1
Step 2
Example 4.21: Preparatory Exercises for Top Melody in Double Notes
The following exercise is for the lower voice only (Ex. 4.22). Students can notice that the
entire lower voice is played by the thumb except for the final F-sharp in m. 4. Teachers should
help students to be close to the keys with their thumb and to slightly use their wrist from a
parallel position to turn to the left to play the repeated notes, rather than pushing the key by
fingers. Students can practice from loud to soft dynamic levels, as Chopin recommended to his
students.
Example 4.22: Preparatory Exercise for Lower Voice in Double Notes
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