Although there’s no authentic record of Beethoven’s day of birth, the registry of his baptism on 17th December 1770 has survived. Since it was custom to baptise within 24 hours of birth, the consensus is that his birthday was the 16th of December.
To celebrate Beethoven’s 250th birthday tomorrow, we’ve created an instalment in our #piecestoplay series featuring a selection of piano works at various levels and our resources for them.
Beethoven in 1803, painted by Christian Horneman
Ecossaise in E-Flat (No. 4 from Six Ecossaises, WoO 83)
A lively dance in 2/4 time, an ecossaise is actually the French word for “Scottish”! This piece is currently set as Grade 3 in the 2021 & 2022 ABRSM piano examination syllabus. Click here to view a video-walkthrough for this work.
Sonatina in G (Anh. 5 No. 1)
Although there are some questions as to whether this work is correctly attributed to Beethoven, it offers an excellent opportunity to assimilate essential elements of the Classical style: articulation, balance, ornamentation, and clear phrasing.
Click here to view our From the Ground Up edition which provides a step-by-step approach to learning or teaching this piece.
Für Elise (Bagatelle No. 25 in A Minor)
This evergreen miniature of Beethoven scarcely needs any introduction at all and many pianists attempt it before they are ready for it. This video from our Q-Spot series shows how to use quarantining and other practice tools to tackle two challenging spots within the work.
Bagatelle in E-Flat (No.1 from Seven Bagatelles, Op. 33)
Beethoven wrote short pieces (which he called “trifles”) throughout his creative life, which he published in three collections. This piece is the first from the earliest set, Op. 33 and is set as Grade 7 in the 2021 & 2022 piano examination syllabus. Click here to view a video walk-through of this work from our collection of resources for the syllabus.
“Moonlight” Sonata in C# Minor (Op. 27, No. 2)
This work is one of the most famous pieces written for the piano. Completed in 1801, the name “Moonlight Sonata” was not given by Beethoven but comes from German poet and music critic Ludwig Rellstab who, five years after Beethoven’s death, compared the effect of the first movement to moonlight shining on Lake Lucerne. Click here to view an article on pedalling in this work or here for some tips on how to project the melody.
Sonata Pathétique in C Minor (Op. 13)
This sonata was a great success in establishing Beethoven’s reputation as a composer at the time – the work was instantly popular and has remained so to this day. Pianists respond to the drama and intensity of the music and clamour to learn it. This series of eleven videos looks at challenges posed throughout all three movements, giving interpretative and technical guidelines as well as suggestions for practice.
More Beethoven Resources Coming!
We’re delighted to announce that we’ve embarked upon a project to film walk-throughs of Beethoven’s 32 Piano Sonatas with pianist, teacher and captain of the Piano Boat, Masayuki Tayama. These videos will be added to the Online Academy’s growing repertoire library and will provide insights on interpretation, style and technique for each of the Sonatas.
This week’s blog post features our most recent Practice Clinic in which Graham Fitch responds to questions submitted by Online academy subscribers. In this recording, Graham discusses topics such as legato playing, fingering, building speed and quarantining in works by Beethoven, Chopin, Grieg and Debussy.
Next practice clinics
Our next practice clinic takes place @ 12:00 BST on Wednesday 26th May. Please sign-up to our mailing list here for updates on future practice clinic dates.
Watch previous clinics
Recordings of past practice clinics are posted up on our Facebook page and YouTube channel shortly after each event. You can also view our full archive of previous events via these links!
How they work?
Online Academy subscribers can submit questions for practice clinics up to two weeks before each session. This can be done using the link provided on the Online Academy dashboard under “subscription benefits” (click here to sign-in and visit your dashboard).
Further information on how our practice clinics work is available here or please click here to find out more about the Online Academy.
This week’s guest post is by pianist and captain of The Piano Boat, Masayuki Tayama with whom we’re delighted to have embarked upon a project creating detailed walk-throughs of all 32 of Beethoven’s piano sonatas. The first set of videos features Beethoven’s first piano sonata, Op. 2 No. 1, which Masa introduces and shares some thoughts on in this post.
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Much has been written about the life and works of Ludwig van Beethoven, a man who had a defining impact on the direction of music in and beyond the Classical period as well as the development of the piano itself. Most well-known for his symphonies, concertos and piano sonatas, it is a delight, and at the same time a fearsome undertaking to embark on exploring his Sonata Cycle. Each of these 32 (or nowadays, 35) monumental works introduces something new. However, it’s easy to forget that at the point of writing his very first catalogued sonata, Op.2 No.1, Beethoven would not have known that he would go on to write another thirty one, spanning all the way to Op. 111.
Piano Sonata No. 1 in F Minor
This work bears an overly simple dedication to his then-teacher, Joseph Haydn, from whom Beethoven claimed to have learnt nothing. There may well be an element of truth in this given that Haydn was probably too busy with his own compositions to devote much time to his student. However, there is no doubt Beethoven would have been greatly influenced by Haydn’s works themselves, including their Sturm und Drang elements.
Beethoven’s choice of key for this work, F minor, is unusual as most keyboard compositions at the time were aimed at the keen, privileged amateur pianists and more accessible keys were preferred. Additionally, as contemporary keyboard instruments were not tuned to the ‘well-tempered’ standards of today, the key of F minor may well have sounded slightly bizarre.
It is folly to believe that he would have chosen this key just to be different for the sake of it. In fact this key, already used by Beethoven in one of his three early sonatas which demonstrates his dramatic characteristics, eventually leads to the great Appassionata Sonata. The temperament and immensely dramatic opening of No.1 does indeed, for the right reasons, stamp his mark in the world of great composers.
Whilst adhering to the more traditional ‘sonata form’ from the Classical period, he does add an extra movement across the set of Op.2. This would normally have been reserved for larger scale works such as symphonies or chamber music and is therefore unique in itself.
1st Mvt – Allegro
Beethoven didn’t hesitate to borrow material previously explored and at this stage, influence from the Classical period is seen throughout. However, the way he turned the ‘Mannheim Rocket’ theme in Mozart’s G minor symphony into something even more dramatic on a single instrument is uncanny. There are many of his own temperamental traits already displayed in every corner of the music.
2nd Mvt – Adagio
Here, we find Beethoven adhering more to the Mozartian approach to writing a slow movement. I started playing the piano at a young age, attracted to Mozart’s music, and treasured a yellow-labelled – so it must have been Deutsch Gramophone – cassette tape of Mozart’s last piano concerto No.27. I would attempt to play by ear some of the themes, following which I was then sent to piano lessons. My feelings about Mozart’s music are aptly put in the quote from the film Amadeus, where Salieri describes Mozart’s music as ‘filled with unfulfillable longing’. This really does feel most appropriate in articulating the serene yet almost painful second movement.
3rd Mvt – Menuetto & Trio
Whilst the other Scherzo third movements in the set of Op. 2 are more light-hearted and jovial, Beethoven adds an enigmatic, almost haunting opening to this brief movement with a more peaceful, contrasting Trio section. There is much to explore in this additional movement with a sense of innovation prevailing.
4th Mvt – Prestissimo
It is intriguing to imagine what the audience at the time felt when first hearing this incredibly dramatic movement. A foresight of his later work, the third movement of Moonlight Sonata, this movement stands on its own merits, serving as a precursor of what was to come. Whilst Haydn in particular wrote hugely contrasting piano sonatas, none compare to the intensity and relentless and temperamental pursuit of drama of this movement which builds to a fiery conclusion.
Having studied many of the 32 sonatas with some of the world’s greatest pedagogues and performed them extensively, along with Beethoven’s concertos, and subsequently works by Schubert, Brahms and Rachmaninov, revisiting this F minor sonata brought a fresh perspective to my view of the pure genius of Beethoven.
His early works tend to be relegated to ‘study pieces’ at conservatoires, and not often included in concert programmes. They pose unique technical difficulties, some almost impossible to execute as written and performers are much more exposed due to the relatively simple harmonic progressions and melodic writing. This may contribute to the reluctance of pianists to perform them on stage.
It was fascinating to look at practice strategies with knowledge and experience I did not possess as a student, to overcome some of these challenges, and explore the musical detail and depth with which these works can be performed. The 32 sonatas span Beethoven’s lifetime, exhibiting the bridge between the elegant, style gallante of the Classical period and the more direct, personal and emotional output of the Romantic period. They cannot be explored enough and I am thrilled to be embarking on this adventure!
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The full set of eighteen videos in which Masa explores background, style, interpretation, technical challenges and practice methods for each of the four movements of this work is now available on the Online Academy. Click here to view or click here to find out more about the Online Academy. Information on further videos featuring the second sonata in A Major is available here.
Beethoven on Board
Our Beethoven on Board series will ultimately feature all 32 of Beethoven’s piano sonatas and is being filmed on board The Piano Boat. The Piano Boat is a new way of bringing classical music to audiences in and around London, surrounded by the intrigue and beauty of the canals.
The boat, Rachmaninov, is designed for and dedicated to musical events, carrying a beautiful Steinway Model A grand piano in the concert saloon. Seating 12 in an exclusive, intimate setting, it offers an experience where spectacular music is at the forefront of your experience on the canals. Click here to find out more.
The next instalment in our Beethoven on Board series is now available on the Online Academy and features Beethoven’s second piano sonata in A major. A stark contrast to his first sonata, this work shows a completely different side to his music and personality. This time the work starts in the much more approachable key of A major to start with with a distinctly upbeat feel, whilst maintaining the unusual four-movement structure of No. 1.
As with his first Sonata, the work comes with an incredibly simple dedication to Haydn, and whilst the influence from his teacher and Mozart are obvious, there is already a clear departure from the established tradition, in terms of harmony, structure as well as dramatic features.
The Mannheim Rocket that fires off his F minor Sonata still presides in this piece, but the effects are entirely different. With an innovative slow movement followed by a delightful Scherzo sandwiched by the more substantial outer movements, there is much to explore in this colourful work.
It is a pity that a lot of Beethoven’s early Sonatas, including this one, seldom gets performed on the concert stage, but left at the ‘study’ stage of any pianist’s musical journey. Although the tricky leaps in the development of the first movement and the extraordinary demand for stamina of focus required over the long lyrical phrases may be off-putting to programme, there is so much beauty and unique features to enjoy in this Sonata.
1st Mvt – Allegro vivace
Written in the same year as the previous sonata, the first movement opens with a far brighter mood possibly evoking a pastoral setting with the cuckoo calls. This early work still carries a strong influence of Haydn and Mozart, but there are some developments, including some striking modulations for the time period.
2nd Mvt – Largo Appassionato
The second movement is very different from that of the first sonata and is marked largo, therefore broader than the previous adagio. It starts in the style of a string quartet and features a staccato bass against lyrical chords. This movement is perhaps a foreshadowing of later movements, it’s influence also possibly seen in works by Schubert and Brahms.
3rd Mvt – Scherzo
Although similar to a minuet and trio, which Beethoven inserted as a third movement for his Sonata No. 1 to create a four-movement structure, this movement is marked Scherzo and is the first of such by Beethoven. The A minor trio section adds contrast to the cheerful opening and there is also an unusual second melody in the remote key of G-Sharp minor.
4th Mvt – Rondo
This lyrical movement in rondo form is Mozartian in style, but substantial in that the theme repeated five times in various guises. There is also an unexpected, dramatic section in A minor which further adds to the scale of this movement.
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The full set of twenty videos in which Masa explores background, style, interpretation, technical challenges and practice methods for each of the four movements of this work is now available on the Online Academy. Click here to view or click here to find out more about the Online Academy. Click here to find out more about Masa’s videos featuring other Beethoven Sonatas.
Beethoven on Board
Our Beethoven on Board series will ultimately feature all 32 of Beethoven’s piano sonatas and is being filmed on board The Piano Boat. The Piano Boat is a new way of bringing classical music to audiences in and around London, surrounded by the intrigue and beauty of the canals.
The boat, Rachmaninov, is designed for and dedicated to musical events, carrying a beautiful Steinway Model A grand piano in the concert saloon. Seating 12 in an exclusive, intimate setting, it offers an experience where spectacular music is at the forefront of your experience on the canals. Click here to find out more.
The third instalment in our Beethoven on Board series is now available on the Online Academy and features the last of Beethoven’s Op. 2 piano sonatas. This is the grandest of the three sonatas, second in scale only to the subsequent Op. 7 in his ‘early period’. The work paves the way for Beethoven’s hallmark long phrases and substantial structure, both demanding careful planning and stamina of focus for the performer and listener alike.
Almost symphonic in its approach, combined with the solo-like piano parts akin to a piano concerto, this work explores further varying colours and sounds compared with the first two Sonatas. Following the impactful first Sonata and the hugely contrasting and somewhat humorous second, the grandeur of the third highlights the diversity of Beethoven’s early compositions.
Along with perhaps his early C minor Sonata, this work is performed more often than the other early Sonatas. The first movement, complete with its mini cadenza moment certainly commands much of the attention, but the contrasting second, culminating in the brilliant finale, keep us on our toes!
1st Mvt – Allegro con brio
The grandest of all of Beethoven’s movements to date, this first movement combines lightness and majestic texture along with some beautifully lyrical moments. The large-scale structure, with the cadenza towards the end of the movement, pre-empts his five piano concertos.
2nd Mvt – Adagio
Precise articulation written in, followed by rests within the long phrases from the outset, provides for an elusive opening. It is compelling to look at the main theme as an operatic dialogue rather than long, romantic sweeping phrases. The haunting yet tender middle section foresees the Moonlight Sonata with its use of the accompaniment line also featuring as the main melody.
3rd Mvt – Scherzo
Unmistakeably light-hearted in nature, this Scherzo movement features a contrasting, tumultuous middle section in the relative key of A minor.
4th Mvt – Allegro assai
Concluding the last of Beethoven’s three Op. 2 sonatas in a flourish, this finale surely shows the victorious side of Beethoven’s lifelong battle with ‘fate’. There are various technical challenges to overcome in order to ensure the ease of delivery required for the triumph to shine through.
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The full set of seventeen videos in which Masa explores background, style, interpretation, technical challenges and practice methods for each of the four movements of this work is now available on the Online Academy. Click here to view or click here to find out more about the Online Academy. Click here to find out more about Masa’s videos featuring other Beethoven Sonatas.
Beethoven on Board
Our Beethoven on Board series will ultimately feature all 32 of Beethoven’s piano sonatas and is being filmed on board The Piano Boat. The Piano Boat is a new way of bringing classical music to audiences in and around London, surrounded by the intrigue and beauty of the canals.
The boat, Rachmaninov, is designed for and dedicated to musical events, carrying a beautiful Steinway Model A grand piano in the concert saloon. Seating 12 in an exclusive, intimate setting, it offers an experience where spectacular music is at the forefront of your experience on the canals. Click here to find out more.
In this month’s Practice Clinic, Graham Fitch answered questions on works by Bach, Beethoven, Debussy and Mozart. Topics discussed included how to practise specific passages, legato octaves, playing fast, problems with the 5th finger and polyrhythms.
Practice clinic questions
JS Bach – Invention No. 8 in F Major, BWV 779 – I’ve been learning this piece for two months now and feel that I am stuck. I would like guidance with bringing out the quaver sounds as it jumps from hand to hand. Also, bars 21-23 fingering is awkward, and I’d appreciate some tips.
Beethoven – Bagatelle, Op. 119 No. 1 – I am having problems with getting to the chord in the left hand in bar 19 from bar 18 and in bars 19 & 20 until the end of the section. I’m also struggling moving onto bars 29 – 32 in the left hand. The problems show up when I try and out both hands together and any tips to practise these bars would be welcome!
Beethoven Sonata No. 9, Op 14 No. 1 – How should I practise playing legato octaves in Bars 65 to 80? I am also not able to run fast enough for the semiquavers in the left hand on bar 91 to 93. How should I practise these?
How to play fast and musically – How do you ensure musicality along with speed? I often listen to music and hear people playing very fast which can sound like they’re playing faster than their ability and it’s not musical even though it’s clearly played. On the other hand, some musicians play faster than one would have thought possible and the sound is fluid, rippling and musical. How do you retain the beauty and thoughtfulness? (this question has arisen from our recent workshop on how to play fast, click here to find out more).
Debussy Reverie and Mozart Sonata in G Major, K283 – I am struggling with the polyrhythms, particularly the one in measure 21 with the octaves. I struggle with getting things up to tempo in general, but this slows down when I get to it. I also notice a strain on my right thumb when playing octaves here and in other pieces as well (also learning Mozart Sonata in G Major K. 283). The octaves in the left hand measure 16 – 21 create tension in the left forearm and I have to practise short periods of time on them.
Issues with tension and extension of the 5th finger – I have a problem with the fifth finger of the hand. Very often it remains stuck in extension. It doesn’t stay relaxed near the keys when I’m not using it. Are there specific exercises to rehabilitate it? I have had this problem since the beginning and now have the impression that this problem is a brake on my progress.
Next practice clinic
Our next practice clinic takes place on Wednesday 16th March on our Facebook page at 12:00 GMT. Please sign-up to our mailing list here for updates on future practice clinic dates.
Watch previous clinics
Recordings of past practice clinics are posted up on our Facebook page and YouTube channel shortly after each event. You can also view our full archive of previous events via these links!
How they work?
Further information on how our practice clinics work is available here or please click here to find out more about the Online Academy.
Online Academy subscribers can submit questions for practice clinics up to two weeks before each session. This can be done using the link provided on the Online Academy dashboard under “subscription benefits” (click here to sign-in and visit your dashboard).
Further information on how our practice clinics work is available here or please click here to find out more about the Online Academy.
The fourth instalment in our Beethoven on Board series is now available on the Online Academy and features the Sonata in E-flat major, Op. 7. This work builds on the expansive elements displayed in the previous three, particularly in the first movement, and shows a greater maturity despite only being composed a few years later. Sandwiched between two sets of three works – Op. 2 and Op. 10 – it certainly stands on its own and is the longest sonata of the entire cycle, bar perhaps the Hammerklavier.
Much like the earlier works, this masterpiece is again not often included in concert programmes. With four wildly contrasting movements, we witness Beethoven from a slightly different angle, a further glimpse into his depth of musical genius: grandeur but also with calmness, gracefulness and charm. With each movement filled with such unique characters, there is much to investigate and admire in this lesser-known work.
1st Mvt – Allegro molto e con brio
The first movement shares a key with Haydn’s last piano sonata in E-flat major which was written in 1794. It certainly inherits a sense of character and the grandeur of Haydn’s work which is perhaps also evident in Beethoven’s last piano concerto, Emperor, also in E-flat major. This large-scale first movement incorporates Beethoven’s hallmark dynamism, refreshing motives, extremely contrasting characters and intriguing modulations.
2nd Mvt – Largo, con gran espressione
This movement starts off with a somewhat fragmented opening and poses a similar question to the second movement from sonata No. 3 – “Is it a song, or is it a monologue?”. Beethoven makes his intention clearer with the titling of the movement: “con gran espressione”. The middle section borrows from the second movement of Sonata No. 2 with the pizzicato accompaniment, however with more chorale-like characteristics. The incredibly extreme intervals, using the full span of the keyboard he had at the time, foreshadows his last Sonata No. 32 from many years later.
3rd Mvt – Allegro & Minore
Despite the confident opening with no upbeat for the first time, we have a somewhat elusive movement compared with Beethoven’s third movements up to this point. Almost too simple in its light-hearted character, there is a strikingly contrasting, and a particularly haunting, middle section in E-flat minor, perhaps reminiscent of Schubert’s Erlkönig.
4th Mvt – Rondo: Poco allegretto e grazioso
Again we have another expanded last movement which continues with the elusive nature of the third movement. Much like the last movement of Sonata No. 2, this one is in Rondo form with a tumultuous section in the middle.
The unexpected modulation to E major towards the end shows another possible homage to Haydn’s last piano sonata in E-flat, where he wrote the second movement in the key of E major. Whereas virtuosic finales were more common in his compositions up to this point, here, Beethoven shows maturity by wrapping up this Grand Sonata with a graceful, quiet ending, with a sense of acceptance and even a touch of charm.
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The full set of eighteen videos in which Masa explores background, style, interpretation, technical challenges and practice methods for each of the four movements of this work is now available on the Online Academy. Click here to view or click here to find out more about the Online Academy. Click here to find out more about Masa’s videos featuring other Beethoven Sonatas.
Beethoven on Board
Our Beethoven on Board series will ultimately feature all 32 of Beethoven’s piano sonatas and is being filmed on board The Piano Boat. The Piano Boat is a new way of bringing classical music to audiences in and around London, surrounded by the intrigue and beauty of the canals.
The boat, Rachmaninov, is designed for and dedicated to musical events, carrying a beautiful Steinway Model A grand piano in the concert saloon. Seating 12 in an exclusive, intimate setting, it offers an experience where spectacular music is at the forefront of your experience on the canals. Click here to find out more.
The fifth instalment in our Beethoven on Board series is now available on the Online Academy and features the Sonata in C minor, Op. 10 No. 1. The set of Op. 10 comprises three works, all worked on simultaneously, with Nos. 1 and 2 featuring, for the first time in his piano sonatas catalogue, only three movements. Although there are some references indicating that more movements were intended, these two works show a deliberate move away from the Viennese four movement structure.
There is plenty to be said about the significance of the key of C minor, but here we have Beethoven’s first piano sonata in this key with which he shares later with the Sonate Pathétique, the infamous ‘Fate’ Symphony (No.5) as well as his very last piano sonata No. 32. The key of C minor also hints at some influences, including Mozart’s Mass in C minor, the pivotal piano concerto K. 491 and Haydn’s first piano sonata written for the fortepiano rather than a harpsichord (Hob.XVI:20) to name just a few.
1st Mvt – Allegro molto e con brio
Much like the opening of the F minor sonata Op. 2 No. 1 where Beethoven quotes Mozart’s G minor Symphony No. 25 K.138, for this one he borrows the theme from Mozart’s C minor sonata No. 14 K. 457 – one of the very few Mozart sonatas in minor keys – and with the use of dotted rhythms, turns it into something even more effective than a simple rising figuration of the Mannheim Rocket.
The decisive opening chord is in contrast to the openings of the four piano sonatas he had written so far and establishes the strong character of the movement. With a relatively short development section, the movement and ultimately the whole sonata is rather compact compared to the grandeur of the E-flat major sonata Op. 7. It therefore calls for much focus to ensure the subtle details, twists and turns are not missed whilst studying the score in practice as well as conveying in performance.
2nd Mvt – Adagio molto
In the middle movement, we witness Beethoven’s beautiful melody writing at its best, characteristic of his long phrases. It is useful to listen carefully and assess each tone created, then to each phrase and section in addition to singing with the piano. The tempo mark of Adagio molto implies a very slow two-in-a-bar, which adds to the challenges for both performers and listeners.
3rd Mvt – Finale: Prestissimo
Perhaps due to the fact that Beethoven omitted a scherzo movement at this point, we have a somewhat light-textured opening to this movement, though with a unique colour created from the unison writing. Nevertheless, his temperament does not allow the character to stay the same for long and much contrast is seen within this relatively brief movement. Abrupt changes of mood and dynamics all require careful thought, practice and facilitation within a demanding two-in-a-bar Prestissimo.
Whilst his Appassionata, written much later, heavily features the ‘fate’ motif in the first movement, here within this corresponding finale movement, we also have a clear indication of the same anguish and defiance as we approach the recapitulation from an incredibly short, 11-bar development section.
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The full set of fourteen videos in which Masa explores background, style, interpretation, technical challenges and practice methods for each of the three movements of this work is now available on the Online Academy. Click here to view or click here to find out more about the Online Academy. Click here to find out more about Masa’s videos featuring other Beethoven Sonatas.
Beethoven on Board
Our Beethoven on Board series will ultimately feature all 32 of Beethoven’s piano sonatas and is being filmed on board The Piano Boat. The Piano Boat is a new way of bringing classical music to audiences in and around London, surrounded by the intrigue and beauty of the canals.
The boat, Rachmaninov, is designed for and dedicated to musical events, carrying a beautiful Steinway Model A grand piano in the concert saloon. Seating 12 in an exclusive, intimate setting, it offers an experience where spectacular music is at the forefront of your experience on the canals. Click here to find out more.
We’ve published four new videos from the elementary grades (Initial – Grade 3) for the 2023 & 2024 ABRSM piano examination syllabus. As with the previous videos, these walk-throughs offer practice suggestions, tips on style and interpretation and many other ideas for pieces by Chwatal, Shruthi Rajasekar, Beethoven and Nancy Litten.
New Videos
Initial Grade A1: Chwatal – Little Playmates
This fun and joyful piece is a great introduction to playing hands together. In this excerpt from his video lesson on this piece, Graham Fitch demonstrates how tiny wrist adjustments can help the hand feel comfortable and strong, even when using the traditionally “weaker” fourth and fifth fingers:
Grade 1 C1: Shruthi Rajasekar – Virginia Hall
Dedicated to Virginia Hall, a secret agent, this piece uses a repeated ostinato motif to create suspense throughout. In this excerpt from his video lesson on this work, Graham Fitch shares a creative way to help learn the rhythm of the ostinato figure while adding some fun to your scales practice!
Grade 2 A1: Beethoven (arr. Czerny) – Écossaise in G, WoO 23
The bouncy Écossaise by Beethoven from the Grade 2 list features different types of staccato articulations. Graham Fitch explains the distinction and demonstrates how to execute them in this excerpt from his video lesson on this work:
Grade 3 B1: Nancy Litten – The Sad Ghost
This mysterious piece is full of opportunities to create a haunting atmosphere. In this excerpt from his video on the piece, Graham Fitch explores possibilities for using the pedal to create a spooky effect as the music fades away towards the end of the piece:
Click here for links to view the full videos on the Online Academy!
Other Videos
The following videos for the elementary grades (Initial – Grade 3) are also available:
Click here to view the full index of a of available videos, including links to several from previous and other syllabuses (further information on our project for the previous 2021 & 2022 syllabus is available here).
Videos for almost 60 pieces have been recorded already and are currently in the various stages of the editing process. Several further shoots are planned and we will be releasing the videos in frequent installments over the coming months. Please click here to sign-up to our mailing list for updates and notifications on this project and our resources for piano examinations.
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In this month’s practice clinic, Graham Fitch answers questions on playing fast and evenly, Alberti basses and practice methods for a Sonata and Bagatelle by Beethoven, Chopin’s Berceuse and a Mazurka.
Practice clinic questions
Beethoven Bagatelle in E-Flat Major, Op. 33 No. 1 – I have a hard time practising the right hand double notes in bars 19-20. Can you give some suggestions on how to practise these two bars and to play them fast and evenly? I also have trouble with the left hand accompaniment at bar 81.
Beethoven Sonata in F Major, Op. 10 No 2 (1st mvt) – I’m having difficulty with the fast Alberti bass from bar 30 onwards (similarly from bar 20 in Op. 49 No. 1). My fingers get stuck in the black keys and it’s hard to find a good fingering for the bass note and to play softly. I have no problem playing the C major equivalent at bar 162 though and find that forearm rotations and moving my wrist up and down the keys helps!
Chopin Mazurka in G Minor, Op. 67, No. 2 – The first and last sections are coming along well, but the middle section (bars 22 to bar 24) is not yet secure. Any suggestions to make this more secure would be most welcome.
Chopin Berceuse in D-Flat Major, Op. 57 – I adore this work but always come adrift in the RH chordal section in bars 35 – 36. I would be very grateful if you could give me some ideas for practising these bars!
Next practice clinic
Our next Practice clinic takes place on 15th March 2023 @ 12:00 GMT. Please sign-up to our mailing list here for updates on future practice clinic dates.
Watch previous clinics
Recordings of past practice clinics are posted up on our Facebook page and YouTube channel shortly after each event. You can also view our full archive of previous events via these links!
How they work?
Further information on how our practice clinics work is available here or please click here to find out more about the Online Academy.
Online Academy subscribers can submit questions for practice clinics up to two weeks before each session. This can be done using the link provided on the Online Academy dashboard under “subscription benefits” (click here to sign-in and visit your dashboard).
Further information on how our practice clinics work is available here or please click here to find out more about the Online Academy.
