Picking a second Chopin Waltz for an Intermediate level student

Coming back to a composition that has personal practicing phases, combined with teaching experiences assists in choosing sequences of pieces for students. In the cosmos of Chopin Waltzes, I discern a consecutive study relationship between the A minor Waltz, No. 19, Op. Posthumous and the B minor Waltz, Op. 69, no. 2.

The B minor Waltz flows naturally from the A minor, Op. Posthumous, as both can be nicely parceled in voice layered practicing. (The lines in these two compositions, are a lot less complex than those in the C# minor Waltz, Op. 64, No. 2, for example.) Yet the Key of B minor, in the context of the Circle of Fifths, is progressing forward, and its three distinct sections are longer and more developed than offered in the A minor Waltz.

In both compositions, I encourage students to first flesh out the fundamental Bass notes (on the first beats of each measure–played like a cello line), then to separately play the after beat sonorities, making sure the third beat is the lightest but not released abruptly. (A supple wrist helps cushion the fall on second and third beats)

This preliminary bass study invites an understanding of the work’s harmonic underpinning and how certain chords, such as the Dominant are leaned upon before their resolution to the tonic. (A lean/less relationship)

Where secondary Dominants appear, the same lean/less progression to tonics, requires arm weight transfers that channel energies that are bigger than localized finger pressures on the keys. In concert with floating, relaxed arms, the bass line can then move horizontally, before exploring the treble melody.

In the B minor Waltz’s opening section, a surprising Neapolitan chord (C Major) appears before the final resolution, making it an unexpected harmonic event. Examining its ultimate progression to a Dominant, naturally impacts the melodic line, as the whole exploration of bass study directly influences melodic phrasing.

While delayed gratification might be a consequence of investing time in first crafting a beautiful bass line, this bottom up learning stage supports a well thought out sequence of practicing that has a valued layered dimension.

1) Fundamental bass practicing (play like a cello line with a singing tone)
2) After beat exploration (supple wrist cushions–third beat sonority is lightest)
3) Isolate the melodic line and contour it. (with a singing tone)
4) Play the fundamental bass notes only with the melody (with an ear toward voice balancing)
5) Play a contoured melody with the after beat sonorities only (voice balancing applies)
6) Synthesize bass and treble. (Singing tone, voice balancing, horizontal flow of all voices, response to harmonic underpinning)

The B minor Waltz, in particular, is laden in the opening section with tied melodic notes that decay quickly while the fundamental bass notes can easily overshadow them. This aspect of lifting arm weight off downbeats when applicable, is a more complex dimension of the B minor Waltz in comparison to the A minor, Op. Posthumous and adds to the former’s advancement in the learning process.

In the video below, I explore the bass and melodic dimensions of the B minor Waltz’s “A” section, and recapitulate the layered learning sequence previously referenced.

The remaining two sections, including the Trio which is in the Parallel B MAJOR key will be explored in forthcoming videos. The expanded interludes include a transition from the ‘A’ section to a sweeping ‘B’ section that moves as if one beat is engulfing each measure. Both ‘B’ and ‘C’ sections are an expansion of the Waltz in comparison to the A minor, Op. Posthumous.