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3
?b
?b
2. Introduction, bars 9-11: Play the first bar with the sustaining pedal fully down, and make a crescendo to the top. Stay there and
listen to the rich A major chord. Keep holding the pedal down when you play the next bar, making a diminuendo. Making half pedal
changes on the E, C sharp and A in the last half of the second bar. Raise the pedal enough to avoid a complete blur, but try to keep
something of the chordal sound.
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2/22
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j
& b
1
3
3. Adagio, bars 12-15 etc: Start by practicing the left hand on its own, very
slowly. Use a light arm for the repeated thirds, making sure they are exactly
simultaneous and very soft.
Then practice the right hand. There are no articulation marks in the score, which means that Mozart probably intended a detached style.
But practicing them legato at first could help you find the right singing sound and to give the phrase a forward direction. Then change into
playing portato, lifting a tiny bit between notes but giving each note an expressive legato quality.
&b
&b
- - - #-
Then play the first phrase hands together. Balance the different layers - bass, melody and chords - by giving them different touches and
dynamics. Emphasize the expressive D sharp in the second bar.
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&b
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4
2
4
1
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5
2
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1
4
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2
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1
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n b
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R
& R
# R R
p
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4
1
3
Practice the scale in thirds (bars 26-27) separately. Make a crescendo to forte and then a sudden drop to piano on the last sixteenth.
Make the eight-notes in the bass detached but longer than the sixteenths in the treble (portato).
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f
cresc.
3
5
1
2
3
5
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b
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p
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cresc.
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n # #
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5
3
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2
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3/22
Bars 42 and 43 will need extra practice. Practice one hand at a time and observe the fingerings. With our suggested left hand fingering you
will frequently use the second and fourth finger to play parallel thirds. Focusing on this feature will help you memorize the whole passage.
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crescendo
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b
b
b n
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1
3
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2
4
1
3
2
4
2
4
1
2
2
4
1
3
1
4
2
4
2
4
6. Presto runs and arpeggios, bars 34, 44 & 53: Practice the runs in bars 34 and 44 slowly and evenly, with a light arm. Begin with the
portions selected below, which are then repeated in lower registers when you play the complete section. The added rhytmizations are only
to make the shape of the run clearer. They do not imply any accents, and do not have to be followed slavishly.
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#
2
J
b#
&b
#n b
#
1
In the diminished chord arpeggios, the left hand travels over the right and the right hand goes under the left. When a hand has finished its
4
four notes, move it immediately to the next position.
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b #
5
b #
2
2 1
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#n
# n
5
3 2
3 5
Practice the chromatic scale in bar 44 slowly. When you begin, lean to the left and make sure there is space between your right arm and
and your body. Play with a light arm and keep the elbow out as you move to an upright position.
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# #
b
# b n #
1
bn #
b n #
1
# bn
1
## 4
& 4
dolce
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& 4
2
4
8. Allegretto, bars 55-69: In Mozart's time, it was unusual to write legato slurs
across barlines. This doesn't necessarily mean that you have to make a noticeable
lift at the end of every bar. Below we provide a version with longer legato slurs, to
show how a majority of pianists actually play this passage.
But Mozart's slurs also tell us something about which notes should be emphasized,
which is why it still makes sense practicing bar by bar observing Mozart's articulation
markings. Begin by practicing the right hand of bars 56 and 58 using the same
"sighing" or "drop-and-float" technique as in exercise 5.
Original slurs:
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4
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2
Suggested
articulation:
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2
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4/22
In the examples below, pay special attention to the left hand and practice it separately. Note the fingerings carefully and make sure you
hold quarter notes and half notes for their full duration (arrows).
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1
3
1
5
4
2
2
5
9. Left hand accompaniment, bars 70-83: Practice the left hand on its own. Begin slowly, letting the hand rotate as when you turn a
door handle. When you increase the speed, make the rotating movement smaller.
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5
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1 3 1
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4 2 1 2
3 2 1 2
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10. Cadenza, bar 86: Divide the cadenza into three parts. First, practice the upward scale in D major. The next part ends with the trill on
E, which you can rhythmize and practice slowly. The final part is the rallentando at the end. Practice each part slowly at least four times
before adding them together and increasing the speed.
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5/22
FANTASIA
K. 397
Andante
& bC
? bC
Note the alla breve time signature - if you cannot feel two beats
to each bar you are playing too slowly! In the Introduction, feel
free to use some rubato to establish the Fantasy character.
Experiment with half pedaling throughout the piece. Not pressing the pedal down all the way
keeps the sound more clear and transparent and will allow you to retain more of the articulation.
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8
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12
1 5
2 1
4 1
2 5
2 3
2 3
Adagio
Slower than the Andante section, but still in Alla breve (two slow
beats to each bar). Play this section in strict time.
Use a heavy touch in the right hand to make the top voice sing.
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Extremely soft
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J
# n
. .
# n n . b
3
J
Emphazise the
expressive D sharp.
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Calm 32nds
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3
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6/22
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4
2
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5
2
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1
3
# n
# n # n
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26
crescendo
1
2
3
5
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3
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crescendo
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34
Presto
1 3
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#
4
n
3
n
J n n # n # #
3
5
3
1
4
1
Stop abruptly,
without preparation.
crescendo
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Note the
quarter rest don't start the
Presto too early.
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2 1
3 1
7/22
Tempo primo
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b #
35
?b
4
1
4
2
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2
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1
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2
4
1
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crescendo
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2
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1
3
1
4
1
2
3
5
3
5
2
4
2
4
Compare bar
33. This time,
keep the pedal
down almost
until you start
the run.
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8/22
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Remember that Allegretto only means moderately fast. Focus on lightness and grace and keep the tempo comfortable.
See worksheet, exercise 8, for tips on articulation. These are Mozart's original slurs, but most pianists continue the legato across barlines.
p dolce
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Hold the
C sharp
legato
70
1.
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& #
63
55
If the tempo is
right, this scale
can be played
non legato.
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1
5
2
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3
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9/22
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a tempo
4
1
rallentando
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92
31
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10/22
Traditional ending:
Probably composed by August Eberhard Mller, first printed by Breitkopf & Hrtel 1804.
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pp
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103
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2
3
2
5
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Alternative ending:
In recent years, a number of pianists and scholars have suggested ending the Fantasy by returning to D minor and the arpeggiated chords
of the beginning. Our version shows how to do this in a very simple fashion. Feel free to add more notes or compose your own version!
98
Andante
&b C
?b C
101
&b
?b
104
&b
n
b
n n
?b
n
b
107
#
# #
&b
? b #
11/22
FANTASIA
K. 397
Andante
& bC
? bC
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8
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b
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12/22
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26
crescendo
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crescendo
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2 1
3 5
j
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2 1
3 1
13/22
Tempo primo
& b #
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35
?b
4
1
4
2
5
2
5
1
5
2
4
1
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4 5
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63
70
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15/22
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rallentando
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16/22
Traditional ending:
Probably by August Eberhard Mller, first printed by Breitkopf & Hrtel 1804
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pp
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ff
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103
C
C
Alternative ending:
In recent years, a number of pianists and scholars have suggested ending the Fantasy by returning to D minor and the arpeggiated chords
of the beginning. Our version shows how to do this in the simplest way possible. Feel free to add more notes or compose your own version.
98
Andante
&b C
?b C
101
&b
?b
104
&b
?b
107
&b
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n
b
# n
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17/22
FANTASIA
K. 397
Andante
& bC
3 3
? bC
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18/22
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20/22
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