A First Book of CHOPIN mG UL tee me 84): Rom BergeracFrédéric Chopin “Chopin knows what sounds are heard in our fields and woods,” wrote a critic. “He bas listened to the song of the Polish villager, and be has made it his own.” But the compaser’s adopied France brought a new elegance and refinement into his music, and Frédéric Chapin, revered as “the poet of the piano,” was welcomed into Paris’ highest social and courtly circles. The story fia great composer forever torn berween two worlds appear in the and musi pages tha: Contents Im apprsimac order of dificuly An Elegant Chopin Melody (in French Ballroom Style) Prefade, Op. 28 20. 7] A Plaintive Chopin Melody (in Polish Masurka Style) [Mazurka, Op. 67 no. 2] Lullaby 8 [Berceuse, Op. 57] Mazurka 10 (Mazurka, Op. 67 no. 2 (reviszed)] MazurkainF 12 [Mazurka, Op. 68 no. 3] 7Etude No.3 14 [Etude, Op. 10 no. 3] Prelude No.7 16 [Prelude Op, 28 no. 7 (reviseed)] An Early Nocturne 18 (Nocturne, Op. 9 no. 2] A Late Nocturne 20 (Nocturne, Op. 55 no. 1] First Ballade = 22 . [Ballade No. 1, Op. 23] Ballade in F = 24 [Ballade No. 2, Op. 38) Funeral March = 26 [+Marche funébre” from Sonats No. 2, Op. 35) MazurkainC 28 [Mazurka, Op. 33 no, 3] Grand Waltz in A Minor 30 [Grande Valse Brillante, Op. 34 no. 2] “Farewell” Waltz 32 {Walez, Op. 69 no. 1, *L'sdieu”) “Minute” Waltz 34 [Wakz, Op. 64 no. 1] “Organ” Prelude 37 [rekile, Op. 28 n0. 20] “Raindrop” Prelude 38 [Prelude, Op. 28 no. 15) Fantaisie-imprompm 40 [Fantabie-imprompea, Op. 65] “Butterfly” Etude 42 [Etude, Op. 25 no. 9] “Military” Polonaise 44 [Polonase, Op. 400. 1] “Heroic” Polonaise 46 [Polonaise, Op. 53] Scottish Dance 48 [The first of Trois Ecossaises, Op. 72 no. 3] iItalian words in this music, and what they mean Allegretto = play at a moderately quick, light tempo Allegro con brio = play fast, with excitement Andante = play at a “walking” speed (andare means “to walk”) Andantino = play at a speed that’s slightly faster and lighter than Andante ‘2 tempo = return to the original speed Cantabile = songful crese. (crescendo) poco a poco = get louder little by litle crescendo ¢ allargando = get louder and hold back the speed D.C. al Fine [da capo al fine] = literally, “from the head to the tail”, that is, go back to the beginning, then continue to the word “Fine® (end) dolce = sweetly, gently espe. (espressiva) = expressive espn, sost. (espresivo, sostensuto) = expressive, sustained Fine = the end Largo = play at a very slow tempo Jegato = connect the notes in a smooth way Lento - play slowly Maestoso = play at a majestic, broad speed marcato = marked, accented Moderato cantabile = play at a moderate speed, and in songful way molto legate - very smoothly connected ‘poco accel. (accelerando) ~ speed up a little poco rail. (rallentande) - hold back a little poco rit. (ritardando) = slow down a little all. (rallentando) ~ hold back your speed all. (rallentando) molto ~ hold back a lot all. (rallentando) poco a poco = hold back little by little rit. (ritardando) = slow down Semplice = play in a simple, unaffected way sempre stace. (staccato) =always detached sast. (sostenuto) = sustained, connected sostenuto ¢ cantabile = sustained and songful sotto voce = hushed (literally, “in an under voice”)An Elegant Chopin Melody (in French Ballroom Style) The seventh Prelude from Chopin's 24 Preludes, Op. 28, composed when he was 26. The music is really 4 delicate waltz, made up of rhythmically identical two: measure phrascs. Originally n the key of A major, this version states the melody alone in the easier key of G major, then adds a simple bass line. The music is light, airy and elegant, Play it at an casy-going walking speed. Andantino Right 1 4 54 2, 1 4 hand alone P 33 5 RH] & he == = RH) e& —A Plaintive Chopin Melody (in Polish Mazurka Style) ‘The middle section of the Mazurka in G minor, Op. 67 no. 2, composed the year Chopin died. This is 2 song fall of longing for his homeland, Poland. A sad tune, played quietly, as though lost in thought about times past. Our version is a whole-step higher than the original, played in the key of A minor, Cantabile ee : 2 1 3 4, 3 2 1 2 1 5S (Bp sotto voceLullaby ‘The theme of Chopin's Bercruse[bear-sikS], Op. 87, originally in D-lat major and in 6/8, Here in G major, our notation in 3/4 is much easier to play, yer eapeures the original feeling. Since Chopin never married and had no children, ic isnot surprising that chs lullaby isthe only composition of this, sort among his works. (Compare this to music by his contemporary Robert Schumann, who had a hhuge family and wrote many piano pieces for, and about, his children.) Gently, with a quiet rocking motion 3 2, 5 4 3, 4 a = + s F p molto legatoall, - 2 4 2 2 3 2 16 Mazurka ‘The main theme of Chopin's Mazurka, Op. 67 no, 2—a different section of the music on page 7 (“A Plaintive Chopin Melody"). The Mazurs were country folk living near Warsaw, the capital of Poland. The masurka [mah-Z00R kab], one of their popular national dances, was known as early a3 the 16th century, and was a particular fivorite of Chopin, who wrote more than 60 of these dances for piano, Some are bold and lively; others, plaintive and dreamy,a tempo gradually slower 3 2 1 11Mazurka in F Chopin's Op. 68 no. 3, composed when he was 19, but not published until 20 years after his death at the age of 39. Here’s a totaly different face for the mazurka: this time its a jaunty, light-hearted, and very youthful dance piece—the exact opposite ofthe plaintive mazurka on page 10. As you play, picture the bright, heel-tapping movement of happy, young dancers, Lively, but not too fast 2 3 43 5 S, 1213Etude No. 3 The Etude in E major, Op. 10 no. 3, originally in 2/4. ‘This version in F major presents one of ‘Chopin's most beautiful melodies, known all over the world for its lovely simplicity. Since érude Lavt-tood] means “a seuds.” this famous piece seems to be Chopin’s study ina ful, “singing” tone ax the keyboard, with a gently rocking accompaniment in che left hand. Our version in 4/4 doubles all ehe original note values (quarters instead of Bths) for casier reading Gently, but not too slow 1 204 P moltollegatoi oa Hold pedal down till end. - slower and quieter till the end 1 2 1 2 1 2 1 2 Si4 Da Bp molto legato 2 1 PG as se a ee ree a me me J 15Prelude No. 7 A complete version of the gentle French waltz introduced on page 6. Among Chopin’s works, the title “Prelude” has no special meaning. OF his 24 pieces wich this title, some are sketches barely a ‘minute long; others are quite developed and theatrical. With its two-measure rhythm played cighe times, Prelude No. 7 presents a challenge to shape the music in an interesting, way, with vacying “dynamics” (degrees of loud and soft) as you move from phrase to phrase Andantino 1 Kr 1 1617An Early Nocturne The theme of the famous Nocturne in E-lat, Op. 9 no. 2 (here, in G major), composed when the frustrated and disappointed 20-year-old Chopin was still unknown to the music werd. The ttle “noctumne”—meaning “night piece”— however, was invented by composer pianist John Field, an Irishman almost 30 years older than Chopin, But it was Chopin who captured the world’s attention ¢ with 21 magnificent noctures composed over the last dozen years of his life ae O° Slowly flowing 18sradualty dying avery ~y 1 8 a 3,— 5 3 5 19A Late Nocturne The Nocturne, Op. 55 no. 1, originally in F minor, now a whole-step higher, in G minor. Chopin’s ‘socturnes have been called “love poems ofthe finest ardor, and within cach one an intimate human drama is explored.” As you learn this sweet-sad music, what do you hear? What “story” may be hidden behind those eloquent melodies? (Or is there no story at all?) Andante a P 2 1 3 2 poco rall. Ast and Last ending 2nd time atempo 1A 4 1 4 2a 1 8 1 ft 5s 2 12 Stop here after the final repeat. 202 43, a 2 Sm A A 21First Ballade ‘The lrical slow theme from Rallade No. 1 in G minor, Op. 23, here in C major. Some say that this 5s the work that awakened the music world to the genius of young Frédéric Chopin, Listen to a ‘recording of the original pice if you can: This pertect blend of heart-melting poctry and elecerifying power has been called a “glowing masterpiece.” Flowing and songful 2 = ~ 4 3 1 SS = — E 223 3 3 4 3 1 a 2 3 gradually held back until the end i 1 2 302 3 5 4 4 $ 5 (freely, slowly),Ballade in F ‘The main theme of the Ballade No. 2 in F major, Op. 38, still in its original key and rhythms. Composer Robert Schumann had dedicated one of bis pieces to Chopin. So Frédéric returned the favor by dedicating this Ballade to din, Today, it sccms unbelievable that great composers actually talked to each other, had dianer together, and played for each other! But its true. Andantino 1 BP sost., sotto voceral... . poco... a ~~~ poco I 1 3 1 3 23Funeral March The third movement of Chopin’s Sonata No, 2, Op. 35. Despite the tempo marking, don't drag this familiar piece co death! Keep the rhythm steady, moving along at a gentle pace. Notice that the left hhand never changes; once you learn the fingering, you've got nothing more to think about! Then sive some shape co the music: perhaps it could start and end very sofily, but build in the middle—as though the procession began far, far away, came nearer, then disappeared, Slow and heavygradually dying away till the 1 end 3 (etc.) 27Mazurka in C ‘The original theme, key, and chythms of the Mazurka, Op. 33 no, 3. This is our first piece to include 4 large number of grace nores—those quick, little decorations written in very small notes. Grace notes ave no time value, 60 don’t let them stick out! Instead, play them with light fingers, just a split second before the beat. The result will be charming, fanciful dance chythms. Semplice 1 PGrand Waltz in A Minor ‘The theme of the Grande Valse Brillante, Op. 34 no. 2. Close your eyes and imagine Paris, the most beautiful and fashionable city in all of Europe. Picture a candle-lit ballroom, music in the air, and elegant dancers in fine dress. Yet underneath it all isa hint of melancholy and sweet sidness. Was young Chopin thinking of his Polish homeland as he composed this quiet picce? Lento BP sostenuto e cantabile“Farewell” Waltz ‘The Waltz in A-flat, Op. 69 no. 1, called “Liadien” (The Farewell). Its said hat Chopin wrote this wvaltz while courting a young Polish countes living in Paris. But as a poor musician, he was consid cred unsuitable for marrage and was rejected. True oF not, iti a romantic tale that perfectly fis the pottic 19th century. (Those 13 litle mores at the 2nd ending, p. 33, are typical decorations in ‘Chopin's style. Pay the phrase lightly, as though you were throwing it away.) Lento — quietly, with a little sadness 5 4 3 5lay these 13 notes in an unhurried, smooth and even way. iP} - 4 232123 4123125 3 2 5 4432 | 33“Minute” Waltz The lytical middle section ofthe world-famous Walez in D-lat, Op. 64 no. 1. The misleading word “Minute” was probably che publisher's idea, for it surely did not came from a composer who disliked nicknames for his music. Although the main theme flows quickly, it takes far more than a minute to play this deligheful waltz, The “free” 8th-note-passages that begin and end this three-page piece are from Chopin's original score. (Remember to turn after page 35.) Freely, =k. ~ 2. = +. - 4 Allegretto (in time) 2343 5 Sm_3 1 3 mf sostenuto 345 s 12 L 1b 1 poco ft > 5 3 5 | mee we ean, age oe atempo 5 L 4 3 1 3 L || af ss. 5 7 | i | i 5 — 3 L L | | s i 4 1 3 2 poco rall. 5 2 > i ~ 5 5 T § 136“Organ” Prelude ‘The complete Prelude in C minor, Op. 28 no. 20, transposed to G minor. The nickname “Organ” capmures the way this powerful miniature imitates chick organ sound by using a combination of rich chords (in the hands) and the damper pedal (with the foot) to make the lower piano strings resonate ally and Geeplh. Just strike each chord and hold it... then quickly depress and hold the right pedal anti you play the next chord. Then do it again! Largo : 3 4 2 4 5 4 a 5 3 5 Ss 4 5 4 2 Ay Ee ss 5 L 1 2 a4 —a— - te he P (BP, 2nd time) Lr = 2 L 2 3 1 2 , * 4 (Pay afer 5 3 3 1 it] 2 i 2 4d . a. 43 2 sm aiciog t= : $ 2P 3 2 te sf be ca 4 37“Raindrop” Prelude ‘The theme of Prelude in D-lat, Op. 28 no. 15, here in D major. Thase repeated A's in the left hand are supposed to imitate raindrops, bur no one really knows what was on Chopin’s mind when he composed this music, For the best performance, play that lovely right-hand melody very smoothly (legnio) and sweetly (dolce), while your lef hand intones those A’s in the background, quietly and lightly detached (piano ¢ poco leggiero). Practice hands scparately! 3839Fantaisie-impromptu The slow theme—originally in D-faat major, here in F major, from the Fantaisic-impromptu, Op. 66. ‘And what a beautifully balanced musical form!—16 measures altogether (count them) . .. perfectly divided into two pages ... cach page perfectly divided into four litle phrases. As you play this world- famous music, listen to how effortlessly it unfolds .. . expands .. . repeats .. . and comes to rest. Moderato cantabile 1 eST 5 Notice that this lef-hand passage is identical to measure 3 ‘but now in the bass clef. 41“Butterfly” Etude “The theme of the Etude in G-flr, Op. 25 no. 9. Every éeude (Prench for “a study”) has something special to teach the player. This one must be about lightness and a delicate touch in piano playing, for it just seems co fly along, soaring here and there with no effore at all. Remember that yout are nov in the key of C, that both hands are always in the treble clef, and hat gp means pianisimeo (very soft), Light as a feather (or a butterfly) 1 243 4 34 423 aa 5 hold back a litile hold back a little f 2 3. 4 3 2 43“Military” Polonaise What began as 2 peasant song-and.dance in Poland's villages soon reached the great reception halls Of high society, where splendidly dressed guests pranced in courtly processionals to the spirited martial music of their country. This was the famous polomaite—the highest expression of Polish rational spirit. But it remained for Frédéric Chopin to elevate the polonaise to its highest form, ‘making these piano works a symbol to all the world of intense Polish nationalism. Allegro con brio 4 1 a2 3 1 2 3 i; 4 oss. S sempre stace. et bh } nth une waysan wt = 3 = Let 1 ART IML a { Aill- qu {ll oe (Th nog & L “ll . + n° nea i ALL Ish sens : Ho Mall = ae : t). a wn a ane Ts 45“Heroic” Polonaise twas 1830, and the unknown Chopin (just turned 20) had left Poland for the first time to seck fame in Europe’s musical world. Fie was performing in Stuttgart, Germany, when he learned of the ¢ap ture of Warsaw by the Russians under Csat Nicolas 1. Chopin’s dream of a free, al: powerful Poland never left him, finding. intense expression in his two most famous works: the “Military” Polonaise (Op. 40 no. 1) and this driving, emotional “Eeroic” Polonaise (Op. 53). Maestoso 4 3 4 3 2 301 13 24343 21 12 —_ T — Ff marcato 2 = = * z 46crescendo eallargando......'.-.)2.--2--+----------- 47Scottish Dance The firs of three Fronaies, Op. 72 no, 3, Ia French, “Scotland” i Erase, and a “Sconish dance’ is ‘comnts, Published after Chopin’s death, this music was written when the composer was barcly 16 years old. Itis carefree and jolly, ll of youthful good spirits—a pleasane way to end our musical visit with this complex, emotional composer whose heart never lefe home. Lively, with bright spirits 3 43 2 43 3 ‘< 43 2 ot a ~~ 1-3 48> fe’ I O a ra FOR THE BEGINNING PIANIST Bergerac ‘eginning pianists and their teachers will love this compilation of immortal music by Frédéric Chopin. Fun-to-play, pedagogically sound arrange- ments include the theme from the “Raindrop” Prelude, “Minute” Waltz, the charming Lullaby, and melodic highlights from the most familiar preludes, mazurkas, waltzes, impromptus, and etudes. Each piece is accompanied by captions that provide insight into Chopin's life and the unique features of his music. From the lyrical Fantaisie-impromptu and “Butterfly” Etude to the brilliant strains of the “Military” Polonaise and “Heroic” Polonaise, these arrangements of 23 of the composer's best-loved pieces will prove welcome additions to any beginning pianist’s repertoire. Along with the 23 piano arrangements, this a a free MP3 download for every piece, which will help begin- f ning pianists develop an ear for the melodies. (FFs {reo m suse The MP3s may be downloaded individually or Fence tied collectively. my So40s oP | Dover (2012) original publication ‘SEE EVERY DOVER BOOK IN PRINT AT WWW.DOVERPUBLICATIONS.COM.