Category: Beethoven

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Part Six Piano Instruction, Beethoven’s “Tempest” Sonata No. 17, Op. 31 No. 2 and all FIVE teaching segments preceding

arioso7: Shirley Kirsten

In order from Part One to Six: I. http://www.youtube.com/watch?v=Bd-lC_JeNS0 II. http://www.youtube.com/watch?v=T9VNsvfyNtE III. http://www.youtube.com/watch?v=ntQ4fJ-Swlg IV. http://www.youtube.com/watch?v=fargqHQiJfk V. http://www.youtube.com/watch?v=Pd52itE4aAQ VI. http://www.youtube.com/watch?v=nwQzBpWJWqs LINKS: Part ONE: Beethoven Tempest Sonata in D minor https://arioso7.wordpress.com/2012/04/01/practicing-tips-for-beethovens-tempest-sonata-op-31-no-2-part-one-video/ Part TWO Instruction https://arioso7.wordpress.com/2012/04/01/piano-instuction-part-two-beethovens-tempest-sonata-hand-cross-over-with-tremolo-in-the-middle-voice/ Part THREE Instruction https://arioso7.wordpress.com/2012/04/03/piano-instruction-part-three-beethoven-tempest-sonata-in-d-minor-op-31-no-2/ Part FOUR Instruction https://arioso7.wordpress.com/2012/04/04/piano-instruction-part-four-beethovens-tempest-sonata-in-d-minor-op-31-no-2-measures-55-93/ Part FIVE Instruction https://arioso7.wordpress.com/2012/04/05/piano-instruction-part-five-beethovens-tempest-sonata-op-31-no-2-measures-93-to-158-development-recitative-submerged-pedal/ PART SIX, referenced in You Tube format http://www.youtube.com/watch?v=nwQzBpWJWqs

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Piano Instruction: Part FIVE, Beethoven’s “Tempest” Sonata, Op. 31 no. 2 Measures 93 to 158 (Development, Recitative, submerged pedal)

arioso7: Shirley Kirsten

This is a hauntingly beautiful section of the first movement. After the composer has devoted so many preceding measures to the key of A minor, he decides to travel at quick intervals through a series of different keys. Such fast-paced modulations occur primarily with the return of the crossed-hands portion of the piece, beginning in… Continue reading Piano Instruction: Part FIVE, Beethoven’s “Tempest” Sonata, Op. 31 no. 2 Measures 93 to 158 (Development, Recitative, submerged pedal)

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Piano Instruction, Part FOUR, Beethoven’s “Tempest” Sonata in D minor, Op. 31, No. 2 (measures 55-93)

arioso7: Shirley Kirsten

This tutorial references measure 55 to 93. The composer settles into A minor through these measures and reinforces the A minor tonic to Neapolitan progression. (A minor to Bb Major chord) He elaborates, varies, and introduces a beautiful contrapuntal interplay of voices between treble and bass in measures 69-87. (All in A minor) With a… Continue reading Piano Instruction, Part FOUR, Beethoven’s “Tempest” Sonata in D minor, Op. 31, No. 2 (measures 55-93)

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Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

arioso7: Shirley Kirsten

A tricky chromatic scale with a turn-around at its end ushers in a stormy, impassioned section with cross-over hands. Some players observe the notation to a tee, and avoid these hand-over-hand maneuvers, but I, like many other pianists do the re-arranging in the interests of smoothly trailing a melodic line that starts in the bass… Continue reading Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

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Practicing tips for Beethoven’s “Tempest” Sonata, Op. 31 No. 2, Part ONE: (Video)

arioso7: Shirley Kirsten

Because I found myself rambling on and on about the first page, I decided to compartmentalize the instruction to make it easier to absorb. And since I played the "Tempest" years ago, the surest route to my restoring the piece to a respectable performance level, was to practice it from the ground up in slow… Continue reading Practicing tips for Beethoven’s “Tempest” Sonata, Op. 31 No. 2, Part ONE: (Video)

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Building Piano Technique: Extracting passages from pieces to practice

arioso7: Shirley Kirsten

Instead of playing through laborious Hanon and Czerny exercises to improve aspects of piano technique, a student can cut to the chase, by snatching selected passages from their pieces that magnify a particular technical/musical challenge. As an example, one of my adult students, devoted part of her lesson time to practicing a series of descending… Continue reading Building Piano Technique: Extracting passages from pieces to practice

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After midnight MOONLIGHT Sonata–why not another try, first movement (BEETHOVEN–video)

arioso7: Shirley Kirsten

I had nothing better to do at 1 a.m. and Aiden cat had settled down on the rug beside the piano. This time he had no energy reserves to leap to the window sill and make a racket. (Notice how Beethoven's strains sedated him, except for a transitory cat tag jiggle. But how rude for… Continue reading After midnight MOONLIGHT Sonata–why not another try, first movement (BEETHOVEN–video)

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Piano Technique: Practicing a difficult section in Beethoven’s Sonata Pathetique, Op. 13, movement 1 (Video)

arioso7: Shirley Kirsten

Some piano teachers prefer to improve a student's technique by selecting difficult passages from the mainstream piano literature rather than assign a load of scales, arpeggios and chords that journey around the Circle of Fifths. I still believe the best foundation upon which to build a solid understanding of the piano repertoire is by studying… Continue reading Piano Technique: Practicing a difficult section in Beethoven’s Sonata Pathetique, Op. 13, movement 1 (Video)

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Emotion and Meaning in Music with examples from Beethoven’s piano works (Videos)

arioso7: Shirley Kirsten

As I thumbed through a soft cover copy of Leonard B. Meyer's Emotion and Meaning in Music, a book required for an elective course I took at the City University of New York, I became thoroughly confused by the author's eclectic vocabulary of "absolute music," "theories of continuation," "tonal organization" and the rest. Yet, I… Continue reading Emotion and Meaning in Music with examples from Beethoven’s piano works (Videos)

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Revisiting Beethoven’s “Moonlight” Sonata, movement 1, “quasi una fantasia,” and comparing You Tube performances

arioso7: Shirley Kirsten

http://www.youtube.com/watch?v=jGJ_4CS_c4M I continuously revisit compositions for a new perspective and in this endeavor, I usually check out You Tube performances of celebrated pianists. The "Moonlight Sonata," first movement is a piece that many students set their sights to play. On the surface the composition appears to be within musical and technical reach, but it's a… Continue reading Revisiting Beethoven’s “Moonlight” Sonata, movement 1, “quasi una fantasia,” and comparing You Tube performances