Practice Guide Sonatina in F Major, Anh. 5, No. 2, I. Allegro assai Ludwig van Beethoven

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1 Practice Guide Sonatina in F Major, Anh 5, No, I Allegro assai Ludwig van Beethoven With its quick scalar assages and broken-chord accomaniment, the lively irst movement o the Sonatina in F Major is a solid otion or novice ianists looking or an attainable challenge Table o Contents 1 Score Articulation and Phrasing 3 3 Dynamic Contrast 3 4 Rhythm Temo and Passagework 4 5 Pedaling The Juilliard School All rights reserved

2 Allegro assai & b 4 J 4 Sonatina Ludwig van Beethoven Anh 5 Nr 6 &b j j j 11 & b j j j # # n n 16 & b n n # # 1 & b b b 7 & b b b b b n b# # n n b # # n

3 33 &b # n # n n End o First Hal & b n n n J J n J & & b b J J J J j j j dimin & b? j j j j 53 & b j j j # b < >? n b # b & b dolce? b & b cresc

4 Articulation and Phrasing! Using the techniques Michael discusses in the Module Instructional Video, discover the best ingering decisions or the Sonatina and write them in the score Do this by laying each hand searately Try dierent ingering ossibilities until you ind the most economical otion Notice oortunities that allow you to kee the ingering consistent: when the hand can stay in one osition, when notes are reeated, or when reeated gestures enable sequential ingering! Once you ind satisactory ingerings, lay each hand individually, while ocusing on the musical hrasing Try dierent hrasing and articulations, and mark the ideal otion in the score! Like many classical comosers, Beethoven comosed this work in 4-bar hrases Try hrasing these 4-bars together, making sure that there is an uninterruted melodic line Musically, which hrases seem to ose a question (known as an antecedent hrase) and which seem to ose an answer (known as a consequent hrase) or resolution?! Looking at both hands, think about how the two voices relate to one another Play through every 4-bar hrase slowly, laying hands together, taking care to maintain your ingerings Decide on a inal articulation and hrasing or yoursel ater hearing both hands together! Ater listening to Brian Zeger s instruction in Module on how the Italian language imacted comosers o the Classical era, look back on your hrasing and articulation markings or each hand Make observations based on your new knowledge! Dynamic Contrast! Look at each 4-bar hrase again, now rom the ersective o dynamic contrast Does each hrase go u or down? Aly the rincile Michael discusses, (going u = get louder, going down = get soter) Are there any excetions? Also identiy the signiicant laces o tension and resolution that Brian Zeger discusses in the Exert Insights video! Think about extreme changes in dynamic, such as going rom orte to iano Do you want these changes to haen suddenly or might you reare them with a crescendo or decrescendo? Mark these in the score! Identiy any oints at which the let hand takes on a more imortant role than the right hand? At these moments, the let hand may need to be louder than the right hand Mark these moments in your score Use ghosting to achieve the desired balance between the hands! Are there any ingerings that now eel uncomortable when alying the dynamics? Make sure your hands are always comortable and that your ingering allows you to have a lexible wrist and relaxed arm! Is there a climax in the iece that can be brought out with dynamic contrast, as demonstrated in the Tom Cabaniss Exert Insights video in Module 3? As you ractice, kee Michael s demonstration rom the video in mind Work on creating dynamic contrast by diering your seed o attack on the key 017 The Juilliard School All rights reserved

5 Rhythm, Temo, and Passagework! Practice the iece with the metronome roviding a click on every eighth note beat Play the iece at a slow, medium, and ast temo Now ractice the iece with the metronome roviding a click on every quarter note beat! Aly rhythmic drills to the iece by changing the written rhythms o each measure Start by using the short-long and the long-short attern you learned rom the course! Ater learning rom Rachel Straus in the Module 4 Exerts Insights video about how dancers must achieve dierent rhythms in dierent arts o their bodies simultaneously, look or instances where you are laying dierent subdivisions in each hand Analyze how indeendent or deendent your hands eel at any given oint in your erormance Pedaling! The let hand is oten the accomaniment or a highly articulated right hand in this iece Find a way to use the edal that allows or resonance in the let hand while maintaining the clarity o the right hand! Sing the melody to yoursel, aying close attention to which notes you emhasize and to which notes you rovide a lighter texture Use the edal to hel you convey the dierence between those textures and gestures Kee in mind that edaling can change articulation, dynamics, and color!! Ater listening to Nico Namoradze s discussion about the history o the instrument in the Module 5 Exert Insights video, has your ersective on your edaling decisions changed? Go back and edit your edal markings as needed to achieve a sound closer to what Beethoven had in mind when he wrote the iece 017 The Juilliard School All rights reserved 3

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