x
Example 4.21: Preparatory Exercises for Top Melody in Double Notes ......................................67
Example 4.22: Preparatory Exercise for Lower Voice in Double Notes.......................................67
Example 4.23: Preparatory Exercises for Double Melody ............................................................68
Example 4.24: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 11-17 ...............................................69
Example 4.25: Preparatory Exercises with Various Touches........................................................69
Example 4.26: Preparatory Exercise with Two-note Slurs............................................................70
Example 4.27: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 32-36 (fingering).............................70
Example 4.28: Frédéric Chopin, Waltz, Op. 64, no. 2, mm. 32-36 (analysis) ..............................71
Example 4.29: Preparatory Exercises for Neighboring Pattern.....................................................72
Example 4.30: Preparatory Exercises for Broken-chord Pattern...................................................73
Example 4.31a: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 1-4 (A section) ..............................74
Example 4.31b: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 73-78 (B section) ..........................74
Example 4.32: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 13-15 ...............................................75
Example 4.33: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 13-14 (analysis) ..............................75
Example 4.34: Preparatory Exercises for Leaps............................................................................76
Example 4.35: Preparatory Exercises for the Left-hand Chords ..................................................77
Example 4.36: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 59-60 ...............................................77
Example 4.37: Preparatory Exercises for Voicing Top Notes.......................................................78
Example 4.38: Carl Czerny, Study, Op. 261, no. 2 .......................................................................80
Example 4.39: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-171 ...........................................80
Example 4.40: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-170 (fingering).........................81
Example 4.41: Frédéric Chopin, Waltz, Op. 64, no. 3, mm. 165-170 (analysis) ..........................82
Example 4.42: Preparatory Exercises for Arpeggio Pattern ..........................................................83
xi
Example 4.43a: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 1-4 (“waltz 1”) ..............................83
Example 4.43b: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 17-20 (“waltz 2”) ..........................84
Example 4.43c: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 41-44 (trio) ....................................84
Example 4.44: Frédéric Chopin, Waltz, Op. 69, no. 1, mm. 1-5 ...................................................85
Example 4.45: Preparatory Exercises for Connecting Bass Line ..................................................86
Example 4.46: Frédéric Chopin, Waltz, Op. 69, no. 1, m. 11 .......................................................86
Example 4.47: Frédéric Chopin, Waltz, Op. 69, no. 1, m. 11 (analysis).......................................87
Example 4.48: Preparatory Exercises for Arpeggio Pattern ..........................................................88
Example 4.49a: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 1-4 (“waltz 1”) .............................88
Example 4.49b: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 33-36 (“waltz 2”) ..........................89
Example 4.49c: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 65-68 (trio) ....................................89
Example 4.50: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 31-34 ...............................................90
Example 4.51: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 53-56 ...............................................90
Example 4.52: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 81-84 ...............................................91
Example 4.53: Preparatory Exercise of the Top Melody in Double Notes ...................................92
Example 4.54: Preparatory Exercise of the Lower Voice in Double Notes ..................................93
Example 4.55: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 33-36 (“waltz 2”) ............................93
Example 4.56: Frédéric Chopin, Waltz, Op. 69, no. 2, mm. 65-68 (trio)......................................94
xii
LIST OF TABLES
Page
Table 1: Comparing the Structures and Total Measure Numbers of Frédéric Chopin, Waltz, Op.
69, no. 1 .............................................................................................................................36
Table 2: Comparing the Structures and Total Measure Numbers of Frédéric Chopin, Waltz, Op.
69, no. 2 .............................................................................................................................39
1
CHAPTER 1
INTRODUCTION
The music of Frédéric Chopin is familiar to most music lovers, and most classically
trained pianists spend many years studying the music of this great master. I am no exception, and
I spent many happy years learning and performing numerous works of Chopin. As a graduate
student at the University of Georgia, my graduate assistantship assignment has been to serve as
an accompanist in the Dance Department. Imagine my surprise and delight when I found out that
I would be using the Chopin waltzes on repeated occasions for the dance classes. My interest in
the Chopin waltzes and my love of teaching have come together in this project, which will focus
on these pieces. This project will reflect recent research in the area of Chopin’s teaching, as well
as some newly edited scholarly editions and websites supervised by Chopin scholars.
Purpose of the Study
The Chopin waltzes as a whole are very familiar repertoire for most pianists. Although
volumes of materials have been written about Chopin, very few pedagogical documents have
been written about the Chopin waltzes specifically.
The purpose of this project is to provide a pedagogical analysis of the Chopin Waltzes,
Opus 64 (no. 1 in D-flat Major, no. 2 in C-sharp Minor, and no. 3 in A-flat Major), and Opus 69
(no. 1 in A-flat Major and no. 2 in B Minor). These five waltzes represent excellent repertoire
selections for developing pianists. These waltzes exist in several extant versions, so this study
will be useful in informing teachers of the different editions available and explaining the
differences between them. Additionally, this project will delve into Chopin’s background as a
Dostları ilə paylaş: |