classical music, classissima, classissima. om, ear training, Fundamentals of Piano Theory by Snell and Ashleigh, Journal of a Piano Teacher from New York to California, Mozart Sonata in C Major Rondo Allegretto, Mozart Sonata no. 16 in C Major K. 545, music theory, New York City High School of Performing Arts, Oberlin Conservatory, pianist, piano, piano instruction, piano learning, piano lesson, piano lessons, piano lessons in Berkeley California, piano lessons in El Cerrito California, piano pedagogy, piano playing, word press, word press.com, wordpress, you tube video, you tube.com, yout tube, youtube.com

Ear Training and Transposing are intrinsic to piano lessons (examples from an Adult lesson in progress)

It’s not easy to plan a one hour piano lesson to include ear training, solfege and transposing. (They belong together, bundled with Theory, and enrich the learning environment)

At the Oberlin Conservatory, Theory, Keyboard Harmony, and Eurhythmics were taught separately. Our piano teachers (applied study) adhered to their rigid routine, rarely fitting solfege, sight-reading, improvising, composing etc. into the time-limited hour. Yet, the cross-fertilization of course work, expanded our musical horizons.

The New York City High School of Performing Arts, my alma mater, offered a valuable/mandatory Sight-singing course that continued from 10th grade through senior year. It was enormously relevant as the movable DO (solfeggio) helped me navigate complex scores, and peel away voices.

Piano students who just stick to the music without being exposed to theory, ear-training and other mind-enriching escapades, are basically short-changed. They often view their pieces as finger challenges only–easily becoming Treble clef fixated, tacking on bass lines without a second thought. Naturally, their sight-reading suffers because they’re not internalizing interval movement in various voices, or sensing harmonic flow.

In an effort to stem the tide of such top layer, tracing paper learning, I’ve made a concerted effort to delegate at least 15 minutes of my students’ lesson time to ear training and transposing. (One of my source materials is Fundamentals of Piano Theory by Snell and Ashleigh) Snell and Ashleigh

As an example, I videotaped an adult student transposing snatches from the Preparatory Level workbook, page 45.

for transposition using solfege

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I’ve tossed in a spot-practicing segment where the ADULT student is smoothing out a tricky set of measures in the RONDO: Allegretto, Mozart Sonata, K. 545. (Repertoire should be a springboard for sight-singing, ear-training and theory adventures since they’re interwoven)

(I often slip into solfeggio in parceling voices)

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LINKS:

Solfeggio and Transposing

https://arioso7.wordpress.com/2011/09/19/piano-instruction-solfeggio-and-transposing-video/

The Importance of Sight-singing, Ear-training and Theory in piano study
https://arioso7.wordpress.com/2012/09/21/the-importance-of-sight-singing-ear-training-and-theory-in-piano-study/

Using Piano Repertoire and as a springboard for a theory lesson

https://arioso7.wordpress.com/2012/05/30/using-piano-repertoire-as-a-springboard-for-a-theory-lesson-major-minor-and-diminished-chords-videos/

How to Improve Sight-Reading

https://arioso7.wordpress.com/2011/04/21/how-to-improve-sight-reading-at-the-piano/

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Mozart Rondo: Allegretto K. 545, Performance and Analysis

Performance:

Analysis:

The Rondo, more often than not, is the form used in the last movement of a Classical era Sonata. (The Classical period roughly encompasses the years between 1750 and 1830) The Rondo is usually a brisk, lively and energetic movement that brings a sonata to a definitive conclusion. It is in the home key of the piece.

In the Sonata, K. 545, Mozart composes a light-hearted final (third) movement evocative of the Opera Buffa, or comic opera.

Form: A B A C A Coda

The “A” section, or Rondo in the bright C Major tonality, with a two eighth note short upbeat to a slightly more prolonged 8th note downbeat is the basic motif of the movement, and will come back interspersed with a B and a C section. The “B” section is in the Dominant key of G Major, while the “C” section goes into the Relative minor ( A minor) This A minor section has a Development-like character, and is more prolonged as it delightfully meanders and then winds its way back to the Rondo “A” section that is in the home key of C Major.

In the A minor or “C” section, Mozart uses an inversion of thirds to 6ths, and dances from one hand to the other, with inverted counterpoint. (He flips over the voices, so that the listener experiences the motif or Rondo idea in the bass range, with a 16th decoration in the Treble and in reverse) The devices of inverted intervals and inverted counterpoint are significant characteristics of this “C” section of the final movement.

Through a pivot chord, using A minor, as a double identity Vi chord in C Major going to its Dominant, G B D, the movement weaves its way back to the “A” section Rondo in C Major followed by a Coda (added concluding section) using Dominant and Tonic progressions in broken chord fashion to the very last splash of articulated, unisons that bring the movement to a resounding, and definitive ending. At the end of this work, I feel like I’m in the orchestra pit, conducting those last measures as the curtain goes down in the opera.

Feedback is always appreciated. If you have ideas to share about this effervescent movement, please post.

Links to Piano Instruction first movement (in three parts)

https://arioso7.wordpress.com/2010/12/29/piano-instruction-harmonic-rhythm-and-phrasing-part-1-mozart-sonata-in-c-k-545/

https://arioso7.wordpress.com/2010/12/29/piano-instruction-part-two-harmonic-rhythm-and-phrasing-mozart-sonata-in-c-k-545/

Second movement, Analysis and Instruction:

https://arioso7.wordpress.com/2011/01/07/piano-instruction-second-movement-mozart-sonata-in-c-major-k-545-video/