Three Things Self-Learners (DIY-ers) Often Get Wrong with Beethoven’s Für Elise
I’ve taught piano to students of all ages and backgrounds. And if I had a cookie for every time a new student walked into their very first lesson and proudly told me they learned Für Elise all by themselves—well, let’s just say I’d be a very well-fed piano teacher.
Don’t get me wrong—I love initiative at the piano bench. Trying pieces on your own, experimenting, and learning without a teacher holding your hand every step of the way? That’s fantastic, and absolutely something to be encouraged. And Für Elise? It moves me every time I hear someone discover this beautiful, restless classic. There’s something extraordinary about a piece written over 200 years ago that still reaches across time and connects so deeply with modern players.
That said… here’s a little bit of loving, honest, piano-teacher tough love:
Rarely does a beginner or self-taught pianist truly get Für Elise on their first go. Playing a long stream of notes without understanding what’s happening underneath is not quite the same as playing Für Elise as Beethoven intended. The good news? This is completely fixable.
Below are three common pitfalls I see self-learners fall into—and what you can do instead to make your Für Elise sound more polished.
#1 – Missing the “Perpetual Motion” Engine of the Piece
One of the defining features of Für Elise is its restless, forward-moving energy. Beethoven creates this by writing at least two notes on every single beat for nearly the entire piece.
This kind of continuous, even motion isn’t especially common—and when composers use it, they’re doing it on purpose. The result is an inherent sense of urgency and momentum.
Take the opening section (measures 1–22, if you’re looking at the original score). Beethoven writes steady, even 16th notes throughout, with just one exception: a half-beat rest at the end of the first ending. Just a half a beat to breathe—and then right back into motion.
If you venture into the second section, things escalate quickly. Those 16th notes suddenly turn into 32nds. In other words: instead of two notes per beat, Beethoven asks for four.
To capture this essential character, all of the notes in the opening section must move at the same speed. Yes, the right hand is more comfortable playing quickly, and yes, the left hand is harder—but the illusion of perpetual motion only works when both hands stay rhythmically even.
Playing Für Elise with uneven 16th notes is a bit like going to a sunny, hot beach in a snowsuit. Technically possible—but doesn’t really capture the true experience of the beach!
Quick note for my more advanced pianists: adding expressiveness through intentional speed changes (rubato) does eventually come into play. But rhythmic consistency comes first. You have to earn your flexibility.
#2 – Playing All the Notes at the Same Volume
Most piano music can be boiled down to two essential parts: melody (the tune) and harmony (the notes that support it). Für Elise is no exception. If you were going to whistle Für Elise, which part would you whistle—the right hand or the left? Exactly. The right hand carries the melody the vast majority of the time.
But here’s the inherent challenge of being a pianist:
On an acoustic piano, the lower strings are longer, and longer strings are much easier to play loudly. Add to that the challenge of moving quickly between wide left-hand intervals, and novice pianists often end up “thumping” the accompaniment while the melody gets buried.
This results in a loud left-hand accompaniment and a quiet right-hand melody, which is the opposite of what we want. Think of the melody as the diva at a mega concert, and the harmony as the backup band. How would that diva, or the audience, feel about the backup band drowning out the star of the show?
In order for Für Elise’s beautiful, searching melody shine, pianists need to develop a sensitive left hand throughout. This kind of coordination takes time—and it leads us directly to the next common mistake:
#3 – Starting with a Version That’s Simply Too Hard (for Now)
I do admire a “can-do” attitude. But there’s a difference between “can-do” and “self-sabotage”.
Deciding to run a mile when you’re out of shape? That’s tenacity.
Deciding to run a marathon? That’s… optimism bordering on folly.
In addition to the challenges above, the original Für Elise requires:
Wide left-hand patterns and Alberti bass figures
32nd notes and complex melodic rhythms
Arpeggios and a chromatic scale
Advanced pedaling
A refined sense of nuance and balance
For reference: The Royal Conservatory of Music classifies Für Elise (Bagatelle No. 25) as a Level 7 / late-intermediate piece.
That doesn’t mean beginners shouldn’t play Für Elise. It does mean that most beginners shouldn’t start with the original version. A much more satisfying—and musical—approach is to begin with a simplified arrangement, enjoy the beauty of the piece, and gradually build the skills needed to play it well. From there, moving on to just the A section (the first 22 measures) of the original is a smart and achievable next step. The B and C sections can wait until your technique catches up with your ambition.
A Better Way Forward
At the end of this post, you’ll find a link to three free versions of Für Elise that I’ve arranged and edited for developing pianists:
Level 1: Just the opening melody in quarter notes—perfect for beginners learning to navigate white and black keys, and counting rhythms.
Level 2: The full A section with melody and harmony, but with the left hand compressed into a more manageable position. This version is ideal for practicing even rhythms, balance between hands, and simple pedaling.
Level 3: The original A section, edited into 3/4 time (instead of the original 3/8), with clear fingerings and pedal markings. Many DIYers unknowingly struggle with poorly formatted, finger-free scores—this version provides a clean, supportive blueprint.
Once you can play Level 3 well, you should be in a place to start working on the original Für Elise.
Now you are in a better place to tackle Für Elise. Keep your notes steady and even, bring out the melody and subdue the harmonies, and start with a realistic version that best suits your current playing ability. You can do this!
And, let me restate that being a self-learner/DIY-er is an asset! Curiosity and initiative are powerful forces at the piano. Pair those qualities with the right level of challenge and a deeper understanding of the music, and suddenly Für Elise transforms from a string of notes into a meaningful, expressive piece.
Happy Playing! –Shannon
Click here to get your free download of progressive Für Elise scores