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					James Berry Piano Literature Graduate Assignment #3: Beethoven Part I: The three pieces that I chose to teach to my student from each group are Fur Elise, Sonata in G Major, Op. 49, No. 2, and Bagatelle Op. 119, No. 2. Out of those three pieces, I would teach them with the Bagatelle first, the Sonata in G Major second, and Fur Elise third. I think since Fur Elise is familiar, giving the student the incentive of learning the other two pieces to get to the familiar one is a great idea. Also, I have chosen this order for musical considerations. The first piece – The bagatelle Op. 119, No. 2 is based on a wonderful folk song tune and I would preview this element to the student. I would have them play the right hand alone and see if they can detect the melody. I would then explain that the left hand is kind of a running joke dancing around the right hand. The next element that I would present is that the left hand needs to be precise rhythmically and have a goal in mind with each phrase. There are times where the phrase is short and other times where it moves back and forth like a wave. Measures 13-15 demonstrate this wave motion that I would certainly preview to the student. The second piece – Sonata in G Major, Op. 49, No. 2 (Movement 1) is one of the easiest sonatas and a great transition piece from the last one because it is also in G Major. One of the biggest things I would preview in this piece would be to have the student see the overall concept of the piece. I would have them try and spot every time that the main theme appears. I would play for them the contrasting minor version of the theme and see if they can understand how Beethoven orchestrates this section differently from the major section. The second thing I would preview is the contrast in rhythmic pulse between triplets and eighth notes. There are several times where Beethoven shifts between the different subdivision and I would have them rhythmically tap and maybe preview some of these locations. The third piece – Fur Elise – although one of the most familiar of Beethoven’s piano works, many people do not know any section beyond the main theme. The first preview element I would certainly point out is the number of times that Beethoven goes between E and D# (as in m. 14-16). I would come up with some kind of trick for them to remember this. The second thing I would preview would be the speed of the thirtysecond notes introduced in m.32. These are often not played in tempo and since this piece is familiar, it would be easy for the student to misrepresent the rhythm and tempo. Part II: The piano sonata I chose to examine was the Op. 10, No. 2 sonata in F Major. Here are the explanations for the technical challenge, ornament, accent, Italian term and pedal indication.

a. Technical Challenge - I would say the hardest portion that I notice in this piece is in between m. 188-200 where the left hand is changing between triplets to sixteenth notes, while the right hand has the occasional trill and ornament. Having played this piece, I know that this portion is challenging to keep in tempo. b. One ornament – m. 125

Original

Played

c. One accent – m. 76 (fp) The reason that Beethoven wrote a forte-piano here is because the previous 4 measures have a very intense development of the rhythmic motive in the left hand. At the forte-piano, Beethoven subtlety introduces a new lyrical theme in right hand octaves and he needs the quiet energy back to rebuild the intensity. d. One Italian term – In my edition (Dover), the marking “rin” is placed in the pickup to m. 14. This stands for rinforzando which means a strong accent on notes or chords. This certainly is written to contrast with the two chords in m. 11 and 12. e. Pedal Indication – In my particular edition with the first movement of this sonata, there are no pedal markings, however I can find one portion where I would certainly pedal. From m. 4-11, I would pedal each of the ascending left hand chords to add a little bit more depth to the sound. Part III: Sonata No. 23 in F minor (Op. 57) – “The Appassionata” Mvt. 1: Sonata-Allegro Form Exposition: m. 1-64 Primary Theme – m. 1-23 (f minor) Transition to the Second Theme – m. 23-33 Second Theme – m. 34-64 (Ab major) No repeated exposition Development: m. 64-135 (Beginning in E major, and modulating through several keys) Recapitulation: m. 135-261 Primary Theme – m. 135-162 (f minor, F major) Transition to the Second Theme – m. 163-173 Second theme - m. 174-197 (F major, f minor) Transition to the Coda – m. 198-201 Coda / Closing Material – m. 202-261 (Several restatements of the theme in different keys)

Mvt. 2: Theme and Variation Main Theme: m. 1-15 Variation I: m. 16-32 Variation II: m. 33-48 Variation III: m. 49-79 Main Theme (slightly altered): m. 80-94 Coda: (two diminished chords leading into movement 3): m. 95-96 Mvt. 3: Sonata-Allegro Form Introduction – m. 1-19 Exposition – m. 19-116 Primary Theme – m. 19-63 (f minor) Transition to Second Theme – m. 63-74 Second Theme – m. 75-95 (c minor) Transition to Codetta – m. 95-111 Codetta – m. 111-116 Development – m. 117-211 Recapitulation – m. 211-299 Primary Theme – m. 211-255 (f minor) Transition to Second Theme - m. 255-267 Second Theme – m. 267-291 (f minor) Codetta – m. 291-299 Repeated Development and Recapitulation Coda – 299-360 (f minor)


				
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