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Example 4.38: Carl Czerny, Study, Op. 261, no. 2
Scales and arpeggios
One of the more difficult passages in this waltz occurs in the final six measures, mm.
165-171, in which the right hand plays a long ascending scale and ends in a descending arpeggio
(Ex. 4.39).
Example 4.39: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-171
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A good initial fingering is essential. The complicating factor for this scale pattern is that
it begins as a normal major scale but becomes chromatic towards the end of the scale. For
chromatic scales, I recommend traditional chromatic fingering, which uses fingers 1 and 3 on the
white and black keys of two consecutive chromatic notes, and fingers 1, 2, and 3 on white, white,
and black keys of three consecutive notes. For an arpeggio or long scale patterns that includes
non-chord tones, I recommend a regularity of the fingering patterns because it helps students to
memorize the pattern and develop muscle memory in a fast tempo.
Teachers can help students to memorize the fingering. For the scale pattern in mm. 165-
168, divide the notes into groups and direct students to play the groups on a desk, away from the
piano (Ex. 4.40). Students can practice the fingering several times on the desk.
Example 4.40: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-170 (fingering)
Once the student has mastered the groupings and understands the concept, she can move
to the keyboard. The long scalar passage comprises a two-octave A-flat major scale followed by
half an octave of a chromatic scale (Ex. 4.41). Teachers should direct students to practice those
two different scale patterns separately.
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Example 4.41: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-170 (analysis)
Lastly, students should play the scale as written on the piano with the correct fingering.
Teachers can direct students to keep their fingers close to the keys. Students can use their wrist
when turning the thumb under. This position will help students to play the scale quickly.
For the arpeggio passage in mm. 169-170 that immediately follows the scale passage,
there are two preparatory exercises (Ex. 4.42). In step 1, teachers can direct students to play the
arpeggio as a series of rolled chords. The exercise can prepare students to understand the passage
better as well as helping with eventually playing this arpeggio at a fast tempo. In step 2, students
can practice turning the thumb under. Teachers can direct students to lift their wrist on playing
A-flat and then relax the wrist. Students can slightly disconnect between the C and A-flat and use
pedal. Lastly, students can play the passage in mm. 169-170 as written.
Step 1
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Step 2
Example 4.42: Preparatory Exercises for Arpeggio Pattern
A-flat Major Waltz, Op. 69, no. 1
The A-flat Major Waltz, Opus 69, no. 1 is in three parts with a time signature of 3/4. The
tempo is marked at Tempo di Valse. Each section has its own individual theme (Ex. 4.43).
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Example 4.43a: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 1-4 (“waltz 1”)
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The example is the first version of the National edition.
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Example 4.43b: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 17-20 (“waltz 2”)
Example 4.43c: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 41-44 (trio)
There are two main challenges from the first version of the National edition. Those
challenges are connecting the bass line and performing the melodic embellishments. However, a
similar teaching suggestion is applicable to the second version of the National edition because
these two challenges are very similar in both versions. For students who are not ready to confront
those difficult technical challenges, I recommend first working on the third version of the
National edition.
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Connecting bass line
One of the left-hand challenges is that of connecting the bass line with chords on the
following beats. Ex. 4.44 shows mm. 1-5 from both first and second versions of the National
edition.
Example 4.44: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 1-5
There are two preparatory exercises (Ex. 4.45). Step 1 consists of playing the bass line
only. Teachers can help students to find good fingerings for playing the bass line legato. The
alternation of fingerings 4 and 5 will be one of the best choices. Turn the fourth finger over the
fifth finger, with a slight disconnect between the notes while using pedal and with a slight curve
to the fifth finger. Step 2 involves adding the chords on the second and the third beats. Because
inexperienced players tend to hold the chord on the third beat longer than written, this exercise
will help to disconnect the notes of the last chord while connecting the bass notes. Students can
play from slower to gradually faster tempi. Finally, students can play the passage in 3/4 as
written. Teachers can direct students to create a dance accompaniment pulse with a particularly
light touch on the chords.
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