Practice Tips

It might be more accurate to call these practice tips rather than performance tips. What is required when practicing this piece is “patience.” Some readers may find that their progress, despite diligent practice, is exceptionally slow compared to other pieces. Rest assured, the author shares this experience. This piece is very challenging, requiring not only efficient practice methods but also the patience to repeatedly accustom oneself to its demands.

Opening Measures and Polyphony

First, issues arise from the opening three measures. Simply get accustomed to them. Once you are somewhat accustomed, when playing the C# octave on the first beat of measure 1, ensure the 5th finger of your left hand produces a resonant, sustained, and deep bass note. Treat this C# with such care that its resonance lingers for three measures.Now, one characteristic of this piece is that Chopin fully demonstrates his masterful polyphonic skill. The texture is dense, and many sections are written in multiple voices. In the opening three measures, too, distinguish between the melodic line and non-melodic lines to avoid confusion. For example, in measure 1, what the author often hears is G#, E#, C#, F#, G#. However, in reality, it is only the three notes G#, F#, G#. Subdue the inner voices. Furthermore, apply ample rubato and play it as a free cadenza.

The “Peculiarity” of Stress on the Second Beat

A “peculiarity” of this piece is that the stress falls on the second beat. In measure 1, too, the second beat is where the tension is highest. Similarly, the melodic line starting from measure 6 also begins on the second beat. And the first beat signifies “the end of the previous phrase.” Therefore, an accent on the first beat is forbidden. For example, in measure 8, the first beat is the last note of measure 7, so play it as if it’s fading away. Then, a new phrase begins from the second beat. Please consider all subsequent patterns of this kind in the same way.

Advice on Phrasing the Theme

Advice regarding the theme. Let’s take measures 6-8 as an example. The phrase starting from the second beat of measure 6 ends on the first beat of measure 8. Looking closely at the line, it begins on C#, reaches the highest note, F#, in measure 7, then descends, becoming p in measure 8. From here, it’s up to individual interpretation, but the author would not give much volume to the F# in measure 7. Instead, crescendo through the subsequent A#, D#, C#, F#, B, making this the loudest part of the phrase, and upon reaching the final A# with a diminuendo, further diminuendo the descending inner voices to arrive at the final chord of measure 8.Let’s take just one more example. The next phrase begins on the second beat of measure 8 and ends on the first beat of measure 10. Similarly, reach the highest note, B, in measure 9 softly, and then, the non-harmonic tones such as G## on the second beat create a truly sensual, emotional, and poignant chord, so increase the tension there. Then, like the previous phrase, reach the A# on the fourth beat with a diminuendo, and do not make the first beat of measure 10 too loud.These phrasings are merely the author’s interpretations, so it is not mandatory to play them exactly this way. It is hoped that they will serve as a reference.

Measure 11: Sudden Color Change and Left Hand Technique

In measure 11, on the fourth beat, the color suddenly changes. Introduce a sudden change in timbre. The left hand in measures 11-12 is also difficult to play, isn’t it? Take the middle note of the arpeggiated chord, C#, with the 3rd finger of the left hand, and if you keep this 3rd finger on C# during both practice and performance, you can ensure a more secure location. In other words, rely on the 3rd finger to memorize the positions of the other notes.

Sixteenth-Note Sixths (Measure 14 onwards)

The six sixteenth-note sixths appearing from measure 14 recur frequently later in the piece. This is also a characteristic motif of this piece. However, these are quite difficult to play. The author would practice them in pairs. For example, in measure 15, the first pair on the second beat is F# D# and D# B#. First, practice only these two. Once you can play them, move on to the next two, and then the next two, and so on; this is a good way to practice. If practicing all six sixteenth notes together doesn’t work well, this approach is recommended.Another helpful tip is that there are places where these sixth units become octaves. For example, the last right-hand note in measure 14. Going from a sixth directly to an octave is challenging. Therefore, when an octave appears in this pattern, take the lower note of that octave with the left hand. This makes it considerably easier to play.

Repetitive Patterns and Rallentando (Measure 34)

Sections where the same chord and pattern repeat multiple times, as in measure 34, are often found in this piece. Perhaps this depicts a boat repeatedly swaying on waves, like on a lake. In any case, do not play them mechanically the same way; introduce variations. From the second beat of measure 34, “rall.” is indicated. So, follow it, but there’s a small trick at that time. Gradually increase the interval between the ornamental notes in both hands on beats 2-4 and the main notes as the music progresses. This creates a sense of fading away.

Ascending Sixteenth Notes (Measure 42)

The ascending sixteenth-note figure in the right hand appearing on the first beat of measure 42 is yet another motif. This figure serves a resonance role, so never play it strongly; instead, use the soft pedal or similar means to create an otherworldly sound quality. Subsequently, play all instances of this pattern with the same treatment.

The Final Pages

In any case, the last three pages are truly challenging. Believe strongly that you will eventually be able to play them, and practice patiently. The left hand is particularly important, so practice slowly and carefully to ensure your fingers fit firmly onto the chords.

Measure 107: Climax and Fingering

Please look at measure 107, first beat. This is where a climax reaches its goal. In such places, one might want to express strongly with forte, but the right-hand arpeggio is a difficult chord with notes more than an octave apart, and the 5th finger, which plays the last note, is on a black key. While white keys might be manageable, black keys are narrower, making mis-touches more likely. This is a place where you want to avoid mis-touches. In such a situation, instead of taking the highest note, G#, with the 5th finger, taking it with the 1st finger is safer and allows for a louder sound. From the bottom, take with 1, 2, 3, then instead of going to 5, play G# again with 1. Please try this.