Fur Elise (Piano)

This is the Für Elise piano sheet music, and the score above plays. Click it and it opens in your browser, with every note you play checked against the page.

The piece is a bagatelle in A minor that Beethoven wrote around 1810. You will know it from the first bar, where the right hand rocks between E and D♯ five times and then drops through B, D and C to land on a long A. That opening draws people in. Then it turns out to ask for quite a lot of control and balance before it gives any of the expression back. It is often the first real classical piece a pianist falls for. It is also often the first one that shows the difference between pressing the right keys and making music out of them.

A lot of people have tried it, got stuck, and put it away. It looks easier on the page than it is under the hands. Learned properly, with the hands balanced and the pedal under control, it tends to improve everything else you are playing at the same time.

A minor, 3/8, 106 bars. The A section is the E D♯ E rocking figure. That is the shape you need before you play a note.

Read the key first so you know which black keys are in play. Count the meter out loud. Then look at how many bars you actually have to learn.

Work through this tutorial in the order below. Fifteen minutes a day for a week is enough to get Fur Elise under your hands if each chunk is actually learned.

Play it with the notes graded as you go, no account.

The key is A minor: no sharps and no flats. The notes are A B C D E F G. Anything outside that list in the score is an accidental. Mark it.

The time signature is 3/8: 3 beats in every bar, and an eighth note gets one beat. Count that out loud before you play, and keep counting.

The score is 106 measures long. Number them in pencil. Starting at bar 9, when you need to, is the point of the numbers.

Set a tempo you can play the hardest bar at. The easy bars will feel slow. That is correct.

Split Fur Elise into chunks of 8 bars and learn one chunk per session. A chunk you can play three times without a mistake is learned. A chunk you can nearly play is not.

Practice the last bar of one chunk and the first bar of the next as a chunk of their own. The joins are where it breaks.

Fur Elise sits in A minor. These are the chords that key is built from. Knowing them makes a slip easier to recover from, because you can hear where you are.

Play the melody in your right hand and just these chords in your left. The written left hand can wait. Hearing the harmony is the useful part.

Two hands on Fur Elise are two problems. Solve them one at a time.

1. Right hand alone, slowly, until the chunk is clean three times.
2. Left hand alone, slowly. Give the quiet broken chords under the A-section theme more time than it feels like it needs.
3. Hands together at half the speed you managed separately. If it falls apart, go back to the weaker hand.
4. Speed up in small steps, only from a tempo where nothing goes wrong.

If a bar still will not lock, play the right hand and tap the left-hand rhythm on the piano lid. The problem is usually the rhythm.

Fifteen minutes a day for a week:

1. Day 1: the key and the A-section theme, about eight bars, hands separately.
2. Day 2: chunk 1 hands together, chunk 2 hands separately.
3. Day 3: join chunks 1 and 2, then learn chunk 3.
4. Day 4: the second half, same routine.
5. Day 5: the joins, and only the joins.
6. Day 6: the whole piece, slowly, once. Mark the two bars that went worst.
7. Day 7: those two bars, then the whole piece at tempo.

Play Fur Elise in Chordzy and it will mark which notes and timings were off.

The shape is A–B–A, and then some.

Because the theme keeps coming back between the episodes, the piece is usually described as a rondo rather than a simple three-part form. Knowing that before you learn the notes pays off in a way that surprised me the first time: the memory has five short things to hold instead of one long one, most of the dynamics are decided by which section you are in, and the playing stops sounding flat because you know where the tension rises and where it settles.

Most of the trouble people have with Für Elise is the balance rather than the notes. The right hand has a tune that ought to float. The left hand, playing broken chords of A, E, A in the first bars, is very easy to play too loudly. When that happens the tune sinks into the accompaniment and the piece sounds like an exercise.

What worked for me, and for most students I have watched, is to practice the two hands separately first. Then put them together with the left hand played far more quietly than seems reasonable, close to a whisper. The moment you can no longer hear the melody clearly above the chords, the left hand has crept up again. It feels strange for a week or so. After that the habit of keeping an accompaniment under a melody tends to stay, and almost every later piece wants it.

Für Elise needs the pedal, and it punishes too much of it. The harmony moves more often than most beginners expect: in the opening theme it changes roughly once a bar, back and forth between A minor and E major under the melody, and if the pedal does not change with it the two chords blur into each other and the tune turns into a wash.

Shallow changes and clean releases are what you are after. Listen for mud. If it sounds muddy to you it is muddy, and I have found that learning to catch that yourself does more for your playing than most exercises do.

The piece is in 3/8, three quavers to a bar, and the rhythm should be steady without being mechanical. In practice that means a small amount of rubato around the ends of phrases, and the word to hold on to is small. Stretch the tempo more than a little and the line breaks into pieces.

Until the notes are secure, keep the beat steady and add nothing. After that, try it slightly faster once, just to see what happens. It is the quickest way I know of finding out where the music wants to breathe and where it does not.

As reading practice it is better than it looks. There are repeated patterns, several hand-position shifts, and a handful of accidentals that reward attention. The D♯ of the opening is one. The G♯ in the left hand's E major chord is another, and in my experience it is the note beginners miss most, because the hand expects a G.

If you are playing the sheet music online, loop three or four bars at a time and take them slowly. You hear at once whether they were right, and the repetition stays useful instead of turning into a chore.

It is easy to treat the piece as a list of notes to get through, and it sounds like that when you do. What helps more is to think about the tone of the first E, and about where each phrase is going, and even to sing the tune out loud while the left hand plays, which feels silly and works.

When the practice goes dull, that is the villain arriving. Chordzy keeps you with the sheet music itself, in your browser or in the app: click it and it starts at once, without an account.

Once the notes are comfortable there is more to find. There is the contrast between the quiet theme and the two louder episodes, the voicing of the melody over the left hand, and small changes of articulation from one return of the theme to the next. Listening to a few different recordings helps, and then you decide what you think is right.

By then you are building the instincts for the next piece as much as finishing this one, and that is the reason to learn Für Elise properly rather than just getting through it.