WALTZ IN A MINOR | ABRSM 2025 & 2026 Grade 2 B11 Piano Tutorial

Описание: B:11 – Waltz in A Minor by Fritz Spindler (1817 – 1905)

Note from ABRSM
This expressive waltz consists of regular 4- and 2-bar phrases. Composed by the German composer Fritz Spindler during the romantic period, the lyrical melody carries the 3/4 dance rhythm with a rising and falling intervals. The left hand accompaniment needs to be kept softer and gentler than the melody, using the pedal to enhance its graceful lilt. The speed is moderately fast, with possible slight slowing down at the bars 7-8 and 15-16. It is necessary to practice with the right hand separately to master playing the descending 3rds in bars 9-12, with evenness of tone and good co-ordination. Fingerings, pedal marks and dynamics are editorial.

Note from channel
Difficulty evaluation (for Grade 2): 9/10

This waltz is relatively demanding for Grade 2 level, requiring both technical control and stylistic awareness. Written in a clear ABA form with Da capo al fine, the structure should be understood early in the learning process. As the opening A section returns unchanged, practice time should be weighted more heavily toward the contrasting B section (bars 9–16), where the musical and technical challenges are more concentrated.

As a dance in triple time, fluency and continuity are essential. For this reason, it is highly beneficial to memorise the left-hand accompaniment pattern, allowing the waltz pulse to remain steady and natural. The bass note on the first beat of each bar should always be played with a confident, slightly sustained tone, as this provides both rhythmic grounding and a secure framework for pedalling later on.

Dynamic markings in the score are clearly indicated, but they should be realised primarily through the melodic line in the right hand. The accompaniment must remain supportive and unobtrusive. In the B section, particularly from bars 9 to 13, the right-hand thirds require careful voicing so that the upper note sings clearly above the texture, maintaining melodic direction rather than sounding chordal or heavy.

Pedalling should be introduced only after the piece can be played with reliable fluency and rhythmic stability. When added too early, it can obscure articulation and pulse; when applied thoughtfully, it enhances the dance character and harmonic warmth without compromising clarity. The ultimate goal is a graceful, flowing waltz that balances elegance with control.

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