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74 Example 4.31a: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 1-4 (A section) Example 4.31b: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 73-78 (B section) Four important challenges will be discussed below: leaps and chords; voicing top notes and a trill; left-hand melody; and scales and arpeggios. Leaps and chords One of the difficult passages in the A-flat Major Waltz occurs in mm. 13-15 (Ex. 4.32). The passage requires playing leaps in the right-hand melody and two-note chords in the left hand. 75 Example 4.32: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 13-15 Teachers should first analyze the right-hand melody. The melody implies two-voice counterpoint, based on a line that descends by step: E-flat-D-natural-C-B-flat-A-flat-G in the higher register, and F-E-flat-D-natural-C in the lower register (Ex. 4.33). The analysis can prepare students to understand the passage and quickly read the right-hand notes. Example 4.33: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 13-14 (analysis) The following exercises are for practicing leaps based on the right hand in measures 13 and 14 (Ex. 4.34). The preparatory exercises found in example 4.32 are for practicing the interval of a sixth. 76 Example 4.34: Preparatory Exercises for Leaps For the left hand, the suggested exercises below can be done in three steps (Ex. 4.35). Students can try these preparatory exercises with a non-legato touch at first. In step 1, students play a single line. The next exercise (step 2) involves playing two notes simultaneously. The last exercise (step 3) can prepare students to move their thumbs to play two different keys quickly. Lastly, students can play this passage as written. Step 1 Step 2 77 Step 3 Example 4.35: Preparatory Exercises for the Left-hand Chords Voicing top notes and a trill Another challenge is found in mm. 59-60, in which the pianist is required to play a trill in the right hand while simultaneously voicing the top notes of the left-hand chords (Ex. 4.36). Example 4.36: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 59-60 Chordal analysis is again a useful first step. Teachers can explain that only the top notes of the chord change, while the bottom two notes stay the same. Teachers can demonstrate by playing the top notes only, which are alternating between G-flat and F. Teachers can then demonstrate the two notes of the bottom of the chords, showing that they are the same. Students 78 can play the chords with both hands, playing the top notes with the right hand and the bottom notes with the left hand. The second step involves practicing a sliding thumb from black key to white key, which Chopin often used. Students can play the G-flat and slide to the F with the thumb, using a relaxed motion. The gliding motion of the finger on the key is similar to that of a skater gliding on the ice. Further, teachers can direct students to play on the side of the thumbnail. There are two preparatory exercises for voicing the top notes of the left-hand chords (Ex. 4.37). Step 1 is practicing a broken chord pattern with different dynamics. This exercise can prepare students to have the appropriate dynamics for each finger, which will be used in voicing the top notes of the chords. Step 2 is practicing a top note and two-note chord separately. The exercise will help students with voicing the top note and playing two notes together. Step 1 Step 2 Example 4.37: Preparatory Exercises for Voicing Top Notes 79 Students can play the left-hand chords in mm. 59-60 as written. Teachers can help students to have a more rigid thumb on the accents, compared to the more relaxed motion by two fingers on the bottom chord. Teachers can direct students to go back to practice the two preparatory exercises above when they are challenged to play the chords appropriately. The final step is playing both hands together. For playing trill with the right hand, teachers can apply the same exercise presented on the trill section of the D-flat Major Waltz, Op. 64, no. 1. After the student has completed the preparatory exercises for trill playing, I recommend that he or she work on unmeasured trill playing. Teachers can direct students to bring out a top note of chord as a melody with the left hand while the trill in the right hand are more supporting as a blending harmony. Left-hand melody A left-hand melody occurs throughout the middle section and is very challenging to developing pianists. Most melodies typically occur in the right hand, so the left hand is not as familiar with melodic playing. Moreover, placing the melody in the lower register along with the accompaniment in the higher register is challenging because we tend to focus on the higher register. An excellent piece which can serve as preparatory repertoire for the left-hand melody is Carl Czerny’s Study in C Major, Op. 261, no. 2 (Ex. 4.38). The exercise comprises four measures, with melodic scalar passages in the left hand. Yüklə 15,56 Mb. Dostları ilə paylaş:
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