# Breaking Down Fur Elise



## Majed Al Shamsi

Ah, yes. Fur Elise. I remember the day when I would have killed to learn how to play it. And now, I feel like killing someone every time I hear it.
Still, though, a masterpiece.
For the purposes of this thread and simplicity, I will use letters instead of the traditional sheet music.
Fur Elise is in the key of A minor, as far as I know.
The A minor scale goes A – B – C – D – E – F – G (or G# if it’s a harmonic minor scale).

So, let’s begin dissecting, shall we?

Part 1:

Part 1.1:
Right Hand: E – D# - E – D# - E – B – D – C – A --------
Left Hand: ---------------------------------------- A – E – A

Okay. So, I can understand where the left hand part comes from. It’s basically an A chord (first and fifth keys) followed by the first key of the next A chord in line. It compliments the last key (an A again) that was played by the right hand quite beautifully.
I also understand that the intention was to begin with a tonic chord (the A minor chord), and that it is okay to play neighbouring keys. In this case, the B and the D are neighbouring keys.

Here’s what I don’t understand: Where did the D# come from? I thought it wasn't part of the scale? Does it get a free pass because it is somehow considered a neighbouring key?

Part 1.2:
Right Hand: C – E – A – B ----------
Left Hand: -------------- E – G# – B

In the right hand part, C – E – A is an inversion of the A minor chord, and the B is a neighbouring key.
The left hand part is just the E major chord (Aha! So it is a harmonic scale!). The E chord is also the dominant. It makes sense.

Part 1.3:
Right Hand: E – G# – B – C --------- E
Left Hand: ---------------- A – E – A ---

The E – G# – B is, again, the E major chord, and the C is just a neighbouring key.
For the left hand, it’s a repetition of Part 1.1, plus the extra E key played by the right hand in the end, to continue the A – E – A pattern.

I’ll break down the rest of it later, but in the meantime, perhaps you good ol’ professionals can correct me where I’m wrong, and maybe get me to pay attention to anything I’ve missed.
Also, if someone can help me with the difficulty I faced in the end of Part 1.1, it would be appreciated.

Thanks,
Majed Al Shamsi


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## Vasks

It's late so forgive just my mentioning a few things. First, in the first 8 bars there is only one key: A minor.

The D# is called a chromatic lower neighbor tone. It's also the secondary leading tone to the pitch "E" which is the dominant of A minor. So the D# brings out the importance of the pitch "E" which sets up its resolution to the tonic pitch "A"


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## PetrB

Vasks said:


> It's late so forgive just my mentioning a few things. First, in the first 8 bars there is only one key: A minor.
> 
> The D# is called a chromatic lower neighbor tone. It's also the secondary leading tone to the pitch "E" which is the dominant of A minor. So the D# brings out the importance of the pitch "E" which sets up its resolution to the tonic pitch "A"


The fact there is 'the one key of A minor' is only revealed with the last few melodic notes of that opening idea.

That vacillation between E, D#, repeated several times, then hearing the B is enough to immediately set your ear up with a false expectation, "E as tonic" as defined by E, B and that D# the leading tone of E.
The D natural is then more of a surprise, and you do not settle to home key until the end of the phrase.

Psych! Aren't classical pieces _supposed_ to start on the tonic, and not a red-herring set up of the dominant as perhaps the Tonic?

Yep, and that is Beethoven all over


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## Vasks

PetrB said:


> That vacillation between E, D#, repeated several times, then hearing the B is enough to immediately set your ear up with a false expectation, "E as tonic" as defined by E, B and that D# the leading tone of E.
> The D natural is then more of a surprise, and you do not settle to home key until the end of the phrase.


Naah. One knows it's A minor by the second measure (Ms. 1 = V and ms.2 = i)


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## Majed Al Shamsi

Thank you, Vasks, for clearing that out.
Looked up the term 'chromatic neighbour tone,' and I know what it is now.
I gather the main purpose for using such keys is to highlight the importance of the keys in the scale you use?

There's this lovely documentary I've seen on Youtube, about Beethoven. Comes in three parts. This is part one:





They touch upon the fact that Beethoven enjoyed breaking the rules and surprising his audience, so I can understand what you mean, PetrB.

Part 2, coming right up!


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## PetrB

Vasks said:


> Naah. One knows it's A minor by the second measure (Ms. 1 = V and ms.2 = i)


I was speaking only of 
Part 1.1:
Right Hand: E - D# - E - D# - E - B - D - C - A -------- this is very brief, but nonetheless a tiny red herring before establishing the key within the first or second measure. (It is a melodic V-I vs. just presenting us with Tonic to begin with.)


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