This post is to go with my YouTube video with piano practice ideas for Chopin’s C Sharp Minor Waltz (Op 64 No. 2). I found it quite tricky to master and as I tried to overcome the problem areas, I came up with a few strategies that I’d like to share with you.
Basic structure of the waltz
This beautiful little waltz at its simplest is basically a first section (in C Sharp Minor), a second section in D Flat Major and a repeat of the same first section (back in C Sharp Minor)
However, what’s even more fascinating is the clever symmetry in that the main theme of each section element is actually repeated, but with a different ending and then both sections share a common second part which mirrors this idea of being a repeated theme with a different ending.
First theme
Let’s look at the first theme. It starts out with this motif:
Then continues with
The first motif then comes back pretty much note for note and then is finished off like this
We then have a section in quavers that is used both with this first theme and with the second theme (which we’ll come to in a moment). Again, this is written in a very symmetrical manner.
This quaver section starts out like this
Then continues with
Returning to the initial idea again (note for note) and concluding with
Second theme
The second theme – which immediately moves into D Flat Major with no modulating chords starts like this:
Here Chopin is really clever in that whilst it sounds like it repeats, in actual fact only the first few notes are actually note for note. The remainder is ‘same, same, but different’ as they would say in Thailand.
As you can see, after those first few notes, we have
Followed by a ‘hint’ of a repeat featuring just the first few notes
Then it continues and finally modulates very cleverly back from D Flat Major into C Sharp Minor like this
The quaver section is repeated almost note for note (just the first note is changed) at the end of the second section, until the first theme is returns almost note for note with the piece finishing with the same quaver section.
Main challenge
The principal challenge with this Waltz for me was the Quaver (8th note) section. I found that just practicing this over and over again didn’t really seem to improve the smoothness of it very much – even when doing it Hands Separately.
I also found that the main run up at the end of it was also very prone to errors – no matter how much I felt I had practised it.
Other problem areas
Three other small problem areas were the crushed notes at the beginning of the first theme
The semi-tones stepping down …
… and then the mini fioritura in the second section.
Otherwise, I found the rest of it reasonably manageable (although annoyingly I’m still prone to making random errors when playing it and my left hand continues to be disposed to ‘ghost notes’ on the 3rd beat of the bar).
Practice ideas
Waltzing in 4/4
One of the first things I did was use my 4/4 Waltz Technique. I posted a video on this and you can read the blog post for it here.
In short, I basically play three different variants of 4/4 time.
I have found that this helps tremendously in terms of getting things more controlled, However, interestingly, I started to notice that the variant with crotchet, minim, crotchet (quarter, half, quarter), the major problem was in fact the 4th and 5th fingers – and especially on these notes just here:
Converting to exercises
I found that especially when using this variant the first three notes of each set were rarely smooth – worse, they were actually quite jerky. More than just the ‘slightly uneven’ I tended to have with the other variants.
To start to tackle this, I created myself a set of exercises specifically aimed at giving those fingers a good work out. I played the exercises using all 3 different variants, but more specifically repeated the second one more often.
Over time, this definitely started to improve things. I regularly go back to this set of exercises whenever I’ve not played this piece for a while.
Prone to tension
The second thing I noticed was that this passage was also prone to tension. From having filmed myself and then watched the video back, I noticed I was in fact locking my hand into position – thumb outstretched – on the principle that it means you need to move less when going from note to note. However, such an ‘open hand position’ is one of the major things called out by many teachers as causing tension when playing – and if you just hold your hand out in front of you and stretch out your fingers, you’ll feel the tension building in your forearm.
To improve this, I started to use a more circular motion from the 4th finger (inspired by a Video from Graham Fitch for Pianist where he describes this elliptical movement). You’ll also find this idea in his Piano Practice Series. For a fuller review of this amazing resource from Graham, check out this post.
Initially, I did this in quite an exaggerated manner and more slowly and then gradually reduced the range of motion as I brought it up to speed. It’s hard really to put into words so watching the video will make this easier for you to visualise.
Again, this has helped and the tension has improved things over time
Main run up
The main run up (as I call it) has proved to be a fairly significant challenge. In fact, in honesty I still find that if something is likely to fall apart, this will be it!
To practice this, I focus mostly on my right hand and its a case of ‘drilling’ more than anything. Again, I use my 3 different 4/4 Waltz patterns.
However, a mistake I believe I made for a long time was only actually practicing in those patterns. I think I was almost sub-consciously afraid of playing it wrong and it seemed easier to control in the 4/4 pattern so I stuck with the patterns.
I have now come to the conclusion that, regardless, you need to go back and put the passage in context and play it as written too during your practice time. If it’s error prone, then do this at half speed (or slower) and gradually let it build up over time.
I have found it is also necessary to practice the right hand faster than I’ll ever want to perform it (I got this advice from Chang’s book on Piano Practice).
Crushed notes
For the crushed notes, I first practiced them with an extremely ‘flat’ rhythm – focussing on getting the ‘grace’ note to play with the thumb. Again, easier to watch the video than to try to put into words.
I gradually increased the speed and became more rhythmic with it. However, when I started to regularly record myself, I noticed that I very regularly actually failed to sound the harmony notes underneath … something I had never actually noticed when practicing – just shows the value of recording yourself. Check out my post on the easy way to record yourself playing here.
For the Chromatic Stepping down (and I forgot to mention this in the video itself), I actually posted a question on a Facebook Piano Group of which I’m a member to ask for a fingering suggestion as I felt that my choice of fingering wasn’t working.
I got a great suggestion (to use 3, 2 on each repeated note) which I implemented and again it worked. Again, another example of how technology is amazingly helpful for we pianists by giving us access to other passionate pianists – many of whom have done lots of training and can really advise.
I went to daily drilling of just these few bars to help the new fingering settle in..
Fioritura
Finally, for the little fioritura (which took quite a while mainly due to the polyrhythm) – I didn’t find any alternative but to just drill it – splitting it across the left hand beats.
If this is a piece you’ve worked on or are thinking of working on then I hope these ideas will prove helpful to you. Please do let me know.
If you want to hear my version of it, you can check it out here. Like most of my pieces – because I always want to play things that are really a little too difficult for me – it’s still a bit of a Work in Progress although I’m fairly relaxed about playing this for people at home these days. Unlike a recording, little imperfections seem to pass unnoticed in the lounge.
Let me know what you think.
