Practice Guide Soata i F Mior, O 2, No 1, I Allegro Ludwig va Beethove Comosed i 1795, the Soata i F Mior, O 2, No 1 was dedicated to Hayd, whom Beethove admired ad had briefly studied with three years earlier Also i 1795, Beethove gave his first major ublic erformace i Viea as the soloist for his Piao Cocerto i B-flat major, O 19 Table of Cotets 1 Score 2 2 Articulatio ad Phrasig Dyamic Cotrast 4 Rhythm Temo ad Passagework 4 5 Pedalig 4 2017 The Juilliard School All rights reserved
5 U 10 15 21 Allegro C C ff f SONATE U Ludwig va Beethove O 2 Nr 1 b w b w w w b? w w w w b b b b w b b b b j j b b j b b j b b b 26 b b b b b
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4 90 &b b b b b b b b 96 101 decresc b b &b b b b b b b cresc f 106 U j j ff U & 111 b bww bw bw b w w b w w 116 w b? w w w b
&b b b b 121 126 b j J b b b 5 11 16 141 b b cresc ff b b ff? b b b b b b j J j j J J co esressioe < > & b b? J b 147? b b w b b w b w w w J ff ff ff J w U U
Articulatio ad Phrasig! Usig the techiques Michael discusses i the Module 2 Istructioal Video, discover the best figerig decisios for the Soata ad write them i the score Do this by layig each had searately Try differet figerig ossibilities util you fid the most ecoomical otio Notice oortuities that allow you to kee the figerig cosistet: whe the had ca stay i oe ositio, whe otes are reeated, or whe reeated gestures eable sequetial figerig! Oce you fid satiactory figerigs, lay each had idividually, while focusig o the musical hrasig Try differet hrasig ad articulatios, ad mark the ideal otio i the score! Like may classical comosers, Beethove comosed this work i 8-bar hrases Try hrasig these eight bars together, makig sure that there is a uiterruted melodic lie Musically, which hrases seem to ose a questio (kow as a atecedet hrase) ad which seem to ose a aswer (kow as a cosequet hrase) or resolutio?! Lookig at both hads, thik about how the two voices relate to oe aother Play through every 8-bar hrase slowly, layig hads together, takig care to maitai your figerigs Decide o a fial articulatio ad hrasig for yourself after hearig both hads together! After listeig to Bria Zeger s istructio i Module 2 o how the Italia laguage imacted comosers of the Classical era, look back o your hrasig ad articulatio markigs for each had Make observatios based o your ew kowledge! Dyamic Cotrast! Look at each 8-bar hrase agai, ow from the ersective of dyamic cotrast Does each hrase go u or dow? Aly the ricile Michael discusses, (goig u = get louder, goig dow = get softer) Are there ay excetios? Also idetify the sigificat laces of tesio ad resolutio that Bria Zeger discusses i the Exert Isights video! Thik about extreme chages i dyamic, such as goig from forte to iao Do you wat these chages to hae suddely or might you reare them with a crescedo or decrescedo? Mark these i the score! Idetify ay oits at which the left had takes o a more imortat role tha the right had At these momets, the left had may eed to be louder tha the right had Mark these momets i your score Use ghostig to achieve the desired balace betwee the hads! Are there ay figerigs that ow feel ucomfortable whe alyig the dyamics? Make sure your hads are always comfortable ad that your figerig allows you to have a flexible wrist ad relaxed arm! Is there a climax i the iece that ca be brought out with dyamic cotrast, as demostrated i the Tom Cabaiss Exert Isights video i Module? As you ractice, kee Michael s demostratio from the video i mid Work o creatig dyamic cotrast by differig your seed of attack o the key 2017 The Juilliard School All rights reserved 2
Rhythm, Temo, ad Passagework! Practice the iece with the metroome rovidig a click o every quarter ote beat Play the iece at a slow, medium, ad fast temo Now ractice the iece with the metroome rovidig a click o every half ote beat! Aly rhythmic drills to the iece by chagig the writte rhythms of each measure Start by usig the short-log ad the log-short atter you leared from the course! After learig from Rachel Straus i the Module 4 Exerts Isights video about how dacers must achieve differet rhythms i differet arts of their bodies simultaeously, look for istaces where you are layig differet subdivisios i each had Aalyze how ideedet or deedet your hads feel at ay give oit i your erformace Pedalig! The left had ofte rovides a accomaimet to a highly articulated right had Fid a way to utilize the edal i order to give resoace to the left had while still allowig the right had articulatios to come through! Sig the melody to yourself, ayig close attetio to which otes you emhasize ad to which otes you rovide a lighter texture Use the edal to hel you covey the differece betwee those textures ad gestures Kee i mid that edalig ca chage articulatio, dyamics, ad color!! After listeig to Nico Namoradze s discussio about the history of the istrumet i the Module 5 Exert Isights video, has your ersective o your edalig decisios chaged? Go back ad edit your edal markigs as eeded to achieve a soud closer to what Beethove had i mid whe he wrote the iece 2017 The Juilliard School All rights reserved