![]() commenting on someone's appearance), and the like, are not welcome and will be removed. is a great website to learn the fundamentals of music theory. 'No Stupid Questions' thread (twice/month)ĮPierre's weekly composition/improvisation challenge IMSLP provides access to free, public domain sheet music. Go for it, I played it last year when I was 15. Before you learn the piece, you need to make sure you have a real piano, even an upright piano. Then if you have a teacher, pick up Hanon and start drilling yourself on finger excercises and fundamentals. Scherzo II is an extremely difficult piece that demands not only musicality, but technicality. You gotta be able to play those massive arpeggio runs without getting tired, and play it delicate and fast! Also, I always started of with a few Hanon excercises before practicing the Scherzo, to get my hands warmed up. I started learning Scherzo II at a really bad time. My up groggy piano is at my grandparent's house, and I would take the bus there after school on Monday, Wednesday, Friday after school to practice, and take the bus back home late at night. If I can do it with that crazy schedule, I'm sure you can too! I tried to go there on Saturdays to practice too, and on top of that I had marchig band practice Tuesday, Thursday, Sunday so it was impossible to practice on those days. When sight reading, don't worry about memorization yet. Most of Chopin's pieces are repetitive and the notes are easy to memorize. The notes are really difficult, so if you have knowledge on music theory it could be easier to relate to the chords.Īfter you learn the notes, remember that when playing Chopin's pieces, spontaneousity is important, don't try to play it robotic, but very free and flowing like.Chopin composed his second of four scherzos for the piano in 1837. It begins with a short motif based around the notes of the B-flat minor triad ending questioningly on its fifth. Colossal fortissimo chords then sound in resounding response. This introductory passage, vacillating between the keys of B-flat minor, D-flat major and F minor, and ending in the latter, breaks off in anticipation of the arrival of the scherzo’s main theme. Establishing firmly the key of D-flat major as the prevailing tonic, elegant passagework leads to the Scherzo’s beautiful con anima melody. The melody gradually unfolds over a lush harmonic accompaniment in the left hand. As is typical of Chopin, the introduction and melody are repeated again with variation.įollowing a flourishing close in D-flat major, the trio section shifts to the key of A major. For this reason, it is better to consider D-flat major, instead of B-flat minor, as the key of the Scherzo. In sharp contrast, the trio begins with sostenuto chords with the faint reminiscent sounds of the Scherzo’s melody hidden within. A somber tune in F-sharp minor follows the sustained opening and becomes the centerpiece of the trio. The triplet flourishes that underlie this theme eventually lead the music to a beautiful and graceful passage of arpeggios over a descending bass line in E major. Like the scherzo, the trio is also repeated and upon its close leads into a transitory passage, built upon the prior F-sharp minor tune, and soon the return of the Scherzo. At the conclusion of the scherzo’s reprise, a sudden change back into A major for eight measures signals the arrival of the coda. Energetic and placing several of the scherzo’s motivic ideas in close proximity, the coda brings the scherzo to an exciting close. 2, op.31 is undoubtedly one of Chopin's most popular works.
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