Another practice tip is to sing the melody while playing everything else. Learn the Impromptu first without pedal, and if it sounds pretty smooth and seamless you are on the right track. I have seen several great pianists play beautifully without using this technique, so it really is your decision, as it’s a lot of extra work. However, not everyone – and not every edition –agrees with me. I must admit that I am a great advocate for an unusual amount of finger substitution in order to make the melody as seamless as possible. The most debatable issue, to begin with, is the legato that forms the RH melody. Do not be fooled into thinking it’s just a series of chords! Sometimes it even challenges the RH – see bar 38 for a perfect example of this. The LH needs to support and colour the RH. The LH needs to act as a foundation upon which the RH can rest. The perfect balance between the melody and the accompaniment is hard to achieve, as is the balance between the RH and the LH. In my mind, this is the key of stillness and benediction (the idea of keys and their meanings is the topic of another article entirely).Īt first glance, this piece might seem fairly simple to play, but appearances are most deceptive. Originally published in G major and in 4/4 (Schubert’s publishers deemed it too difficult to play in G flat), it is now always played in G flat. He was, of course, the master of Lieder, and this is how you should view this Impromptu. As a melodist, Schubert remains unsurpassed and this exquisite and deeply poignant Impromptu is the perfect example of his melodic genius. This sublime piece is surely a forerunner of Mendelssohn’s Songs without Words. Learning Tip Learn the whole piece in block chords first
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