The Waltz by Tchaikovsky: Lesson Ideas
Completion requirements
1. Warm Up Exercises
Meet Ana! From an early age Ana developed a strong passion for teaching and since 2008 she has been teaching cello and conducting string orchestras at different independent schools and institutions in Berkshire. In this resource Ana shares some ideas about teaching The Waltz from Sleeping Beauty from our Grade 3 syllabus.
Ask your pupil to identify the highest and lowest notes in the piece and establish how many octaves you are going to play for the scale of the main key. In this case I would advise my pupil to play F major two octaves, as the highest note is F (Grade 3 onwards) and probably D minor harmonic/melodic 2 octaves (Grade 3 onwards) as the relative minor as well, as the lowest note in the piece is D on the C string.
Improvisation
Looking at the rhythm pattern at the beginning of the first phrase, I would ask my pupil to do a short improvisation with the notes of the arpeggio fitting in with the following rhythm:
Make sure you discuss the use of the bow and explore the different dynamics present with this pattern in the piece, Piano and Forte. Also ask your pupil to shape the improvisation to sound like a waltz by leaning on the strong beat of the bar.
At this stage of the pupil’s playing, vibrato should be a skill being developed and slowly consolidated into their technique. Use the same rhythm pattern to explore Vibrato with all four fingers.
Ask your pupil to identify the highest and lowest notes in the piece and establish how many octaves you are going to play for the scale of the main key. In this case I would advise my pupil to play F major two octaves, as the highest note is F (Grade 3 onwards) and probably D minor harmonic/melodic 2 octaves (Grade 3 onwards) as the relative minor as well, as the lowest note in the piece is D on the C string.
Improvisation
Looking at the rhythm pattern at the beginning of the first phrase, I would ask my pupil to do a short improvisation with the notes of the arpeggio fitting in with the following rhythm:
Make sure you discuss the use of the bow and explore the different dynamics present with this pattern in the piece, Piano and Forte. Also ask your pupil to shape the improvisation to sound like a waltz by leaning on the strong beat of the bar.
Vibrato Warm-up
At this stage of the pupil’s playing, vibrato should be a skill being developed and slowly consolidated into their technique. Use the same rhythm pattern to explore Vibrato with all four fingers.