Waltz in F Major “Little”

The waltz as a musical form evolved from various Renaissance and Baroque sliding or gliding dance forms and encompassed peasant country folk dances of Central Europe. The classical waltz in which partners were held closely and whirled around the dance floor was first described in the mid-eighteenth century in Bohemia and Bavaria. Johann Strauss Jr introduced an anticipation type of rhythm in which the second beat of the measure was sounded making the third beat late resulting in more of a two-step waltz. The waltz became popular in Vienna around 1780 where it became widespread throughout Europe due to the influence of the Hapsburg court.

The composer’s waltz style follows that of Chopin in general format with the main theme based in the tonic key, modulating to a secondary theme in the dominant key followed by one or more transitional passages in a related minor key before returning to the main and secondary themes, ending on the tonic. Chopin waltzes were more salon pieces rather than considered Viennese in style and use. The symphonic waltz style achieved it pinnacle with the waltzes and ballets of Tschaikowsky.

The Waltz in F Major (subtitled the “Little”) was written for the composer’s friend Monroe Lovelady to assist in his rehabilitation from brachial plexus surgery in order to strengthen and stretch his arm and hand by encouraging 10th note reaches in the bass. The bass line consists primarily of individual quarter notes to engage the span of the hand and accompanies a quarter note melody in the right hand. The piece modulates from F Major through B♭ Major, G minor, G Major, and C Major before returning to the home key of F Major.

The work was written from 01 November 2012 through 27 July 2013.