"Moonlight" Sonata, Op. 27, No. 2: Movement I Adagio Sostenuto (Ultimate Edition for Adult Piano Students: Orig key C# minor PLUS transposition to D minor)
Piano Solo - Advanced Intermediate
Composed by Ludwig van Beethoven (1770-1827). Classical Period, Method, Repertoire, Technique Training, Recital. 20 pages. Published by Scott Camp (S0.180409).
Item Number: S0.180409
Movement I: Adagio Sostenuto
-Complete Movement in Original Key (C# minor) PLUS Complete Transposition to D minor
-Explanation of Diminished 7 Chords and Patterns used in the Moonlight Sonata
No more getting stuck and not being able to perform this piece!
Beethoven's Adagio Sostenuto from the Moonlight Sonata Op. 27, No. 2 is such a uniquely important piece that special consideration is provided here so that more students will be able to play this piece, and play it more artistically.
The transposed version in D minor is pure Beethoven--not one note changed or left out, complete with all hand positions and finger numbers. This edition is for adult piano students who want to play this incredibly beautiful and profound music without any simplification.
What this means is that students who are not yet ready for the original C# minor key have an option, without having to suffer through a simplification.
But for those students who are ready for the original key, it's here, too!
This publication helps an adult piano student play this iconic piece of music. All fundamental technical solutions (hand positions, finger numbers) are presented. An explanation of the arpeggio pattern that occurs in the second half of the piece is included, turning the most difficult passages into the most easily and clearly understood.
The Left Hand (LH) is pretty straight forward, and requires little explanation beyond bass staff note naming.
The Right Hand (RH) ranges from completely easy and intuitive to significantly challenging. Traditionally, much preparation time has been required to solve the technical issues ("fingering"). While there is merit in this activity, the danger is that the student will (1) never finish this activity, (2) arrive at less than optimum solutions. In my experience, preparation time is precious and finite, no matter how motivated the student.
As a result, I propose that the balance of preparation time shift away from "figuring out notes and fingerings" towards "rehearsal of the music towards the goal of successful performance".
Hand positions introduce the v which indicates one skipped key between thumb and index finger (fingers 1 and 2, either hand). vv (two v's), vvv (three v's) means two and three skipped keys between thumb (1) and 2, respectively.
The 7, 8, or 9 indicates the stretch between bottom and top fingers (1 and 5): interval of a7th, octave (8), or 9th, respectively.
Here's how to put this piece together:
1. Play LH alone all the way through
2. Play RH alone all the way through, referring to the Arpeggio explanation included on the last page.
Practice Sessions going forward
3. Play both hands together, one page only, cycling through all pages.
Soon, you'll be playing larger amounts of music, and this is great. Just keep including the single page activity until all the single pages are solid. The metaphor is painting walls inside a house: you don't want one wall (page one) to have lots of coats of paint, while another wall (page 8) receives little or no attention. Pick a different page each practice session.
Memorization is a by-product of correct preparation, and will occur naturally.
CLASSICAL PIANO LITERATURE, VOLUME ONE
Edited by Scott Camp, 2016
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgmüller
Ballade, Op. 100, No. 15 Friedrich Burgmüller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
Sonatina, Op. 36, No. 3 Muzio Clementi
La Vélocité, Op. 109, No. 10 Friedrich Burgmüller
The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson.
Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.
Scott Camp studied jazz piano, improvisation, composition, and theory at the University of Tennessee (BA), New England Conservatory of Music (BM, MM), and the University of Iowa (doctoral studies in theory/composition). Scott was a board member and past president of the Asheville Area Piano Forum, where he taught piano lessons and also served as pianist/choir director. Scott's students' piano recital performances, as well as his own performances, are well documented on YouTube, in addition to two full length albums with wife Patsy Brison, RAIN DOWN LOVE (2013) and FOR A BETTER WORLD (2016) available on iTunes.
While teaching piano in the Asheville area from 2003-2015, Scott created the V (gap) system of notating expanded hand positions through which all piano music can be presented and learned through hand positions and finger numbers.
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