One of Chopin’s pieces that were not published until well after his death, the Waltz No. 19 is a favorite of pianists around the world. Finally published in 1955, it is finally getting the recognition it deserves. An elegant, sparkling melodic line makes it a great piece for concerts, special occasions, and even as background music for dining.
There are few transcriptions of this piece for solo guitar. We think that this piece makes a delightful addition to a guitarist’s repertoire.
Watch for the sections in which the piece modulates into the parallel major key of A major. We would advise you to practice the scales in both of the underlying tonal keys as part of their warm-up while learning this piece. It will help focus your mind, refresh your memory on where the notes are located on the fingerboard, and thus will help you play this piece with ease and dexterity.
Polish-born Frédéric Chopin (1810-1849) excelled on the piano as a child. He learned to compose at a young age, and entered the formal study of music at Warsaw. In 1830, however, Chopin, like many Poles, moved to France to escape Russian oppression. Like many Romantic Era composers, he turned his outpouring of emotion over events into music.
In Paris, he earned his living by teaching the piano and publishing his compositions. Although he passed away at a relatively young age, Chopin left the music world with a legacy that lives on every time his works are performed.
Spot Practice Clip 1:
[youtube]http://www.youtube.com/embed/DxvpXTWc0yo[/youtube]Chopin’s music is full of triplets, quintuplets, and septuplets. To start hearing these divisions in your mind better, practice dividing a quarter note (one beat) into three and five even parts and alternating this with a plain quarter note. Also, note the twelfth fret harmonic on the fourth string toward the end of this passage to play the D together with the open string E.
Spot Practice Clip 2:
[youtube]http://www.youtube.com/embed/TxeRanFgkbs[/youtube]It takes some discipline for your first finger to move immediately to the G# on the third string after the trill on the first string (E and F). It will help to establish the habit of keeping all of your fingers close to the fingerboard. This passage is also a good opportunity to practice your position changes between the first position to and from higher positions. Make sure that your hand, your whole forearm, your wrist, and your fingers are as relaxed as possible during the shift.
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