“Minor Waltz” is intended to be introduced in the middle of Level 1. The student will learn ¾ time signature, quarter rest and reinforce good, big-knuckle stroke. There is one fingered note in each part of “ Minor Waltz” and these will be taught by rote when they come up. It is not important that the student know what this note is. Use the finger number and string number when addressing these notes as apposed to letter names. Sequencing is as follows:
The Student Will
- Get into perfect playing position:
A. Part 1 and 2 with thumb on string 3, G
B. Part 3 with thumb on string 4, D - Play open strings P, I, and M to check for good stroke
- Part 3 watches the teacher play the fingered E string 4 fret 2 with P
- Part 3 finds that note with good left hand position and plays with the teacher
- Parts 1 and 2 listen to teacher model their part mm 1-4 paying close attention to the rest (finger returns to the string to stop the sound during a rest)
- Play “Minor Waltz” mm 1-4
- Play mm 5-8
- Play 1-8
- Part 1 watches the teacher play fingered note C string 2 fret 1
- Part 1 finds that note with good left hand position and plays it with the teacher
- All parts listen to teacher play mm 9-12 noticing that the rhythm has changed for parts 1 and 2
- All parts play mm 9-12 with good tone
- All play 1-12 with perfect rhythm, good tone and written dynamics (repeat at will)
- Part 2 watches teacher play fingered note A string 3 fret 2
- Part two finds that note with good left hand position and plays it with teacher
- All play mm 10-13 noting rhythm has changed back to the way it was in m. 1
- All play mm 9-13 with good tone, perfect rhythm, and dynamics (repeat)
- Play mm 1-16 (repeat with small groups)
- Part 3 watches teacher play D# string 4 fret 1
- Part 3 finds that note with good left hand position and plays with teacher
- All listen to teacher play the last 4 measures of the piece
- Play mm 17-20
- Play “Minor Waltz” with great tone, perfect rhythm, and all dynamics
* Troubleshooting
“Minor Waltz” can be played all parts at the same time by one person fairly easily. The students will benefit greatly if the teacher can model all parts at the same time to show rhythm changes in measures 9-16. This piece is very effective for teaching wide dynamic range. Emphasize extremely quiet pianissimo and thundering fortissimo without buzzing.