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im considering learning this piece. from what ive tried it seems a little ridiculous with the chromatic stuff. how would you rate it in difficulty in general? (also, it makes alot more sense if the first part was in 6/8)

One of the greatest and most difficult of the Chopin Waltzes.

I'm sure someone else can explain much better than me why Chopin didn't write it in 6/8. My perhaps imprecise explanation is that (1) Waltzes are always in 3/4 and(2)the opening bars are really 2(in the rh) against 3(in the lh)

In a more general vein I would say that (especially when the composer involved is of genius level) all the great composers knew what they are doing when they choose things like the time signature. So you should be extremely suspicious of thinking it would make more sense in 6/8.

Yes--a superb example of Chopin's genius. I played this in high school and had great fun working on it and learning it. It is one of the more difficult waltzes of Chopin.

It escapes me why one would think 6/8 time would be better. It works just fine as is--to me!

OOPS!!! Double post--AGAIN! Sorry!

the first part has a triplet feel because the accented notes of the melody are on the "1" and the "and" after 2, which translated into 8th note counting would be 1 and 4. ive also heard this waltz referred two as "two four" as a nickname. 6/8 is a duple meter and can be counted like 2/4. i dont know, its just that the intended accenting by chopin would be closer to a triplet feel.

I think you might be missing the point. The basic rhythm, established by the LH is 3/4 - 3 beats to the bar. The whole "point" of this wonderful piece is the juxtaposition of 2 beats in a bar in the RH against the 3 in the bar in the LH.

Trying to feel this as 6/8 - duple time, as you correctly state - would destroy the LH which carries the basic beat or pulse of three beats to a bar.

Regards,

Each measure of the Chopin Waltz in A flat op. 42 is split into 6ths.
While the RH is clattering along in vivace 6ths
the LH goes at half-pace 3rds.

I don't agree, and I think that misses the point, too. They are eighths and quarters, but by suggesting six eighth notes against three quarter notes, you're suggesting a rhythm that fits together (two eighths to a quarter) a division that, again, destroys the rhythmic idea of two against three.

Regards,

Thanks BruceD,
I needed to play through the Waltz 42 to be reminded where triplets as such eventually show up (57, 61, 65 and 69) ... you might be glad to hear I didn't destroy the rhythmic idea ... the ear automatically squeezes three notes Ab, Bb, Ab into a the note duration of a quarter note.