No. 3 in E Major, "Tristesse" (Farewell Song)

A key point of this piece is to bring out the top note of chords without sounding harsh, even in the densest passages. However, the B section remains the primary challenge. For learners with small hands, in particular, the B section becomes exceptionally difficult. I have devised some strategies to make it playable even for those with small hands, which I hope will be helpful. Please note that the absence of musical examples makes the explanation quite challenging.

In the B section, Chopin writes pairs of 16th notes that span across bar lines. Since explanations using terms like 'on the beat' or 'off the beat' can be very confusing, I will explain it by referring to the 'first pair of 16ths,' the 'second pair,' and so on.

First, let's look at measures 42 and 44. The method is the same for both, so once you understand how to play measure 42, you can apply the same technique to measure 44. Measure 42 contains four pairs of 16th notes. Strictly speaking, it's three and a half, with the second note of the fourth pair extending into the next measure (m. 43), but for now, we will consider it 'four pairs.' This is quite simple. Let's start with the first pair: D# B and A F#.

In this case, play D# B F# with the right hand, and only A with the left hand. This means the right hand plays three notes and the left hand plays one. Normally, all four notes would be played by the right hand, but instead, we will enlist the help of the left hand. The next pair is supposed to be played by the left hand, but instead, as before, play D# B F# with the right hand and A with the left hand. The third and fourth pairs are played in the same way. Apply the same technique to measure 44. This should make it much easier for those with small hands.

Furthermore, let's consider measure 46 onwards. This section is challenging even for those with average-sized hands, and even more so for those with small hands. From here on, I will also explain in terms of pairs.

Measure 46:

• 1st pair: Right hand: D1 B5 G#1 F5 / Left hand: D5 B1 G#4 F1
• 2nd pair: Right hand: F1 D3 B1 G#4 / Left hand: F5 D1 B5 G#1
• 3rd pair: Right hand: C1 A5 F#1 D#5 / Left hand: C4 A1 F#4 D#1
• 4th pair: Right hand: D#1 C3 A1 F#4 / Left hand: D#5 C1 A5 F#2

Measure 47:

• 1st pair: Right hand: C1 A5 F#1 D#4 / Left hand: C5 A1 F#4 D#1

And so on. In essence, this involves shifting fingerings like 5-2, 4-1, etc., by one 16th note within each pair. This should make it easier. Please try it.

Other Points to Note:

In measure 21, the right-hand ornament (G# and F#) should not be re-struck, as the G# is tied from the G# in the previous measure. Some editions may not show this tie, leading performers to re-strike the G# in measure 21. However, Chopin absolutely never used such repeated notes. It is clearly a misprint.