Comments on: how to play the moonlight sonata http://stephan.sugarmotor.org/2009/03/how-to-play-the-moonlight-sonata/ Blog and Homepage Sat, 10 Dec 2011 01:35:55 +0000 hourly 1 http://wordpress.org/?v=3.3 By: La Cumparsita Lesson with Linda Lee Thomas « Stephan Wehner http://stephan.sugarmotor.org/2009/03/how-to-play-the-moonlight-sonata/comment-page-1/#comment-2715 La Cumparsita Lesson with Linda Lee Thomas « Stephan Wehner Fri, 19 Mar 2010 21:23:23 +0000 http://stephan.sugarmotor.org/?p=197#comment-2715 [...] for me there was a lot more stretching, and the left hand moves a lot farther distances than in the Moonlight Sonata). The right hand needs to plays louder than the left hand and the pedal is absolutely [...] [...] for me there was a lot more stretching, and the left hand moves a lot farther distances than in the Moonlight Sonata). The right hand needs to plays louder than the left hand and the pedal is absolutely [...]

]]> By: AJC http://stephan.sugarmotor.org/2009/03/how-to-play-the-moonlight-sonata/comment-page-1/#comment-170 AJC Sun, 29 Mar 2009 19:32:06 +0000 http://stephan.sugarmotor.org/?p=197#comment-170 Hi Stephan It was a pleasure to hear you play and see how far you've developed since the last time I heard you. Wow, you've really done your research. I commend you for your deligence. Your summarization of the main points are excellent and no doubt a good learning tool as well to help you solidy what you learned. I'm pleased to have been able to help. A comment re Horowitz - pianists use "rubato" (accelerando and deccelerando) to add movement, or flow, to a section of music; it is particularly useful in that section of the Moonlight (with the ascending triadic patterns). I mentioned that Gould is known for his liberal use of rubato; I haven't specifically listened to any Horowitz Moonlight recordings but I'm sure he used lots of rubato. Lastly - Others may disagree, I wouldn't call the Moonlight theme polyrythmic. While there is the dotted 8th & 16th note pattern over the triplet, the polyrhymic aspect is relatively small compared to other pieces, particularly as you get into 20th C music. And many pianists are quite loose in their interpretation of this rhythm - the main thing is to find what sounds and feels right to you so that when you play, it will come more naturally. At this stage, I wouldn't worry about nailing the polyrhytm - four 8ths against triplet 8ths - it's one of those tapping your head while rubbing your stomach tricks that can take a lot of time to figure out. (If you feel like it by all means, go for it. I can show you some tricks for getting playing 4's against 3's, etc.). For the time being, just listen to the how the pattern sounds in various recordings - pick one you like, and try to emulate it - just practicing with the right hand some of the time (melody alone and with the octave) until the theme is solid in your hands (i.e., your little finger) and ear, and then add the triplets. Take heart with the pedalling - every one finds it tricky when they first start using the pedal to bring out the melody while maintaining the harmonic background (i.e., that quick up-down movement played just at the moment of or even slightly before the chord change). It's like learning to drive standard - you're paying attention to all kinds of other things and it's hard to figure out & control what your feet are doing at the same time, but it will come. Have fun! Cheers, Andrea. Hi Stephan
It was a pleasure to hear you play and see how far you’ve developed since the last time I heard you. Wow, you’ve really done your research. I commend you for your deligence.

Your summarization of the main points are excellent and no doubt a good learning tool as well to help you solidy what you learned. I’m pleased to have been able to help.

A comment re Horowitz – pianists use “rubato” (accelerando and deccelerando) to add movement, or flow, to a section of music; it is particularly useful in that section of the Moonlight (with the ascending triadic patterns). I mentioned that Gould is known for his liberal use of rubato; I haven’t specifically listened to any Horowitz Moonlight recordings but I’m sure he used lots of rubato.

Lastly – Others may disagree, I wouldn’t call the Moonlight theme polyrythmic. While there is the dotted 8th & 16th note pattern over the triplet, the polyrhymic aspect is relatively small compared to other pieces, particularly as you get into 20th C music. And many pianists are quite loose in their interpretation of this rhythm – the main thing is to find what sounds and feels right to you so that when you play, it will come more naturally.

At this stage, I wouldn’t worry about nailing the polyrhytm – four 8ths against triplet 8ths – it’s one of those tapping your head while rubbing your stomach tricks that can take a lot of time to figure out. (If you feel like it by all means, go for it. I can show you some tricks for getting playing 4′s against 3′s, etc.).

For the time being, just listen to the how the pattern sounds in various recordings – pick one you like, and try to emulate it – just practicing with the right hand some of the time (melody alone and with the octave) until the theme is solid in your hands (i.e., your little finger) and ear, and then add the triplets.

Take heart with the pedalling – every one finds it tricky when they first start using the pedal to bring out the melody while maintaining the harmonic background (i.e., that quick up-down movement played just at the moment of or even slightly before the chord change). It’s like learning to drive standard – you’re paying attention to all kinds of other things and it’s hard to figure out & control what your feet are doing at the same time, but it will come.

Have fun! Cheers, Andrea.

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