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92 
key, which Chopin freely used. As Chopin taught, it is important to keep the same fingering as 
much as possible in all exercises.  
 
The second step is practicing the top voice while reducing the lower voice (Ex. 4.53). 
Teachers can allow students to play the thumb naturally loud at first, but focus on playing the 
correct notes with good rhythm. Once students accomplish this, teachers can direct them to 
control the thumb to play softly.  
 
 
 
Example 4.53: Preparatory Exercise of the Top Melody in Double Notes 
 
 
 
The third step is practicing the lower voice (Ex. 4.54). The preparatory exercise is based 
on Chopin’s five-finger pattern exercise with various touches. For a warm-up, students can work 
on the lid of the piano by folding the thumb in – out – in a couple of times. Students can slightly 
lift the wrist toward to the left side when moving to F-sharp. Finally, students can play the 
passage as written with a singing tone. 
 
 

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93 
 
Example 4.54: Preparatory Exercise of the Lower Voice in Double Notes 
 
 
Different mood within each section 
 
One of the big challenges in the B Minor Waltz is creating an appropriate mood within 
each section. Teachers and students can discuss the mood of each section together. The first 
section or “waltz 1” can be interpreted as having a sentimental mood. Teachers can help students 
think about their own lives when they experienced sadness, such as the death of a pet.  
 
The “waltz 2” section can be lively and have more forward motion because the phrases 
are shorter than in the previous waltzes (Ex. 4.55). In order to internalize the rhythm, students 
can dance to the waltz. Students should have a wider step on the first beat of mm. 33-36 in order 
to mirror the longer note value of the first note in these measures. The shorter steps can be taken 
on the eighth notes. Teachers and students can move together while singing the melody. 
 
 
 
Example 4.55: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 33-36 (“waltz 2”) 

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94 
 
The trio section has a key change from B minor to B major (Ex. 4.56). Teachers can help 
students think about happy experiences such as a birthday party. By the dance approach, teachers 
can explain that the neighboring motion on the first three notes in the beginning of the trio is 
similar to a dancer’s turning motion. A half note on the following measure can be imagined as a 
big swing motion.  
 
 
 
Example 4.56: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 65-68 (trio)
 
 
 

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95 
 
 
SUMMARY AND CONCLUSIONS 
 
The purpose of this dissertation is to identify Chopin as a pianist and teacher, discuss the 
appropriate editions for teaching, highlight the technical and musical challenges in the works, 
and provide pedagogical suggestions for teachers and students. The Chopin Waltzes, Opus 64 
and 69 were used as a case study. 
 
The study begins with an overview of Chopin’s teaching methodology based on his own 
method [Sketch for a Method]. Moreover, it includes insights into Chopin’s pianism and his 
stylistic characteristics through documentation provided by his contemporaries and students. In 
addition, Chopin’s integral relation to dance as both a dancer and dance accompanist is briefly 
discussed.  
 
 
The discussion on Chopin’s editions will assist in the selection of appropriate editions for 
teaching and performing the waltzes. Chopin’s compositional process and the circumstance of 
his publications are discussed. For the purposes of this project, five editions were selected: the G. 
Schirmer Edition from 1879 (Schirmer edition); The Fryderyk Chopin Institute Polish Music 
Publications Edition of 1949 (Paderewski edition); the G. Henle Edition of 1978 (Henle edition); 
an Alfred Masterwork Edition from 2007 (Alfred edition); and the National Edition of the Works 
of Fryderyk Chopin of 2001 and 2007 (National edition).  
 
The five editions of Chopin’s Waltzes, Opus 64 and 69, were compared in order to 
identify their similarity and differences and to provide the appropriate editions for teaching. The 
general elements of differences were layout, fingerings, phrase markings, dynamics, notes, pedal 
indications, and others such as tempo markings, terms, ornamentations, articulations, rhythms, 

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96 
and ties. The ten versions of the waltzes, Opus 69, have numerous differences including different 
measure numbers, but are similar based on their main sources.  
 
I recommend the National edition for teaching and performing the Chopin waltzes. The 
main reason for this recommendation is that more research has gone into the production of this 
edition than any of the others. Also, the inclusion of Chopin’s fingerings and performance 
markings, the incorporation of many different versions of the waltzes, and the practical layout of 
the pagination all contribute to making this my most highly recommended edition.  
 
The next chapter provides a pedagogical analysis of Chopin Waltzes, Opus 64 and 69, by 
adopting Chopin’s teaching methodology along with practice suggestions and preparatory 
repertoire. The analysis starts with key techniques for playing the Chopin waltzes. The main 
items are the left-hand accompaniment, melodic line, balance, contrast between sections, playing 
in a fast tempo, and the use of pedal. Afterwards, each of the five waltzes was investigated 
individually, highlighting specific technical and musical challenges found in each individual 
work.  
 
My overall approach to the pedagogical analysis of Chopin Waltzes, Opus 64 and 69 is 
based on how Chopin played and taught. Chopin’s main concept regarding piano playing was 
based on a natural physiological approach. This led him to emphasize the need for a comfortable 
and relaxed position for the entire upper body from the fingertips to the shoulder. Chopin 
stressed playing with a flexible wrist in order to move the hands smoothly on the keyboard.  
Also, Chopin innovative approach to fingerings was in contrast to many of the traditions at his 
time.  
 
Chopin’s contemporaries commented not only on his virtuosity but also on the beauty of 
his tone. Very much influenced by Italian opera, Chopin emphasized the singing melodic line in 

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97 
his teaching and playing. In his teaching method, he discussed the relationship between human 
speech and musical phrasing, identifying the need for breathing and inflection in both. In 
addition to the virtuosity and the beauty of his playing, Chopin was known for his improvisatory 
style. His students commented that he played his own compositions differently in every 
performance. 
 
The author hopes this study can encourage piano teachers to adopt Chopin’s pianism and 
teaching methodology for teaching students with his waltzes and confidently choose the 
appropriate editions for teaching and performing the Chopin waltzes. 
Suggestions for Further Study 
 
A possible topic beyond this study is the complete pedagogical analysis of Chopin’s 
waltzes along with a suggested order of study. Continued study on the dance in Chopin’s time as 
it related to his pianism and his teaching is another suggestion. Finally, a comparison study of 
various editions of other Chopin works, such as the Preludes and Mazurkas, will be useful to 
teachers.  

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98 
 
 
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Hipkins, Edith J. How Chopin Played: From Contemporary Impressions Collected from the
 
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Related Materials 
 
Chan, Felix Chung-chuen. “The Development of Technique for Playing the Waltzes of Frédéric
 
Chopin.” EdD diss., University of Illinois, 1992. 
 

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103 
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Spiel. 3 vols. Vienna: Tobias Haslinger, 1828. Translated in English as A Complete
 
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McKee, Eric. Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations
 
in 3/4 Time. Bloomington: Indiana University Press, 2011.  
 
Mendelssohn, Felx. Letters of Felix Mendelssohn Bartholdy: From 1833 to 1847. Edited by Paul
 
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London: Longman, 1863.