practice guide sonata in c major, k. 545, iii. rondo ... · pdf filerondo: allegretto wolfgang...
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© 2017 The Juilliard School All rights reserved.
Practice Guide Sonata in C Major, K. 545, III. Rondo: Allegretto
Wolfgang Amadeus Mozart
The Sonata in C Major, K. 545 was added to the catalogue on the same day as Mozart’s Symphony No. 39, but was not published in Mozart’s lifetime. He listed the sonata as “a little Piano Sonata for beginners.” Despite the “little” label, this work packs a variety of interesting forms, registers, and musical canons.
Table of Contents
1. Score…………..………...…………………….…………….………..….......…22. Articulation and Phrasing..………………………….……………………..…..3 3. Dynamic Contrast……………………….…….………………..………………3 4. Rhythm Tempo and Passagework.………………….……….……...…….…4 5. Pedaling……..…………………………….…………………………….………4
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SONATE
Wolfgang Amadeus Mozart
K 545
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© 2017 The Juilliard School All rights reserved.
2
Articulation and Phrasing ! Using the techniques Michael discusses in the Module 2 Instructional Video, discover the
best fingering decisions for the Sonata and write them in the score. Do this by playingeach hand separately. Try different fingering possibilities until you find the mosteconomical option. Notice opportunities that allow you to keep the fingering consistent:when the hand can stay in one position, when notes are repeated, or when repeatedgestures enable sequential fingering.
! Once you find satisfactory fingerings, play each hand individually, while focusing on themusical phrasing. Try different phrasing and articulations, and mark the ideal option inthe score.
! Like many classical composers, Mozart composed this work in 4-bar phrases. Tryphrasing these four bars together, making sure that there is an uninterrupted melodicline. Musically, which phrases seem to pose a question (known as an antecedentphrase) and which seem to pose an answer (known as a consequent phrase) orresolution?
! Looking at both hands, think about how the two voices relate to one another. Playthrough every 4-bar phrase slowly, playing hands together, taking care to maintain yourfingerings. Decide on a final articulation and phrasing for yourself after hearing bothhands together.
! After listening to Brian Zeger’s instruction in Module 2 on how the Italian languageimpacted composers of the Classical era, look back on your phrasing and articulationmarkings for each hand. Make observations based on your new knowledge!
Dynamic Contrast ! Look at each 4-bar phrase again, now from the perspective of dynamic contrast. Does
each phrase go up or down? Apply the principle Michael discusses, (going up = getlouder, going down = get softer). Are there any exceptions? Also identify the significantplaces of tension and resolution that Brian Zeger discusses in the Expert Insights video.
! Think about extreme changes in dynamic, such as going from forte to piano. Do youwant these changes to happen suddenly or might you prepare them with a crescendo ordecrescendo? Mark these in the score.
! Identify any points at which the left hand takes on a more important role than the righthand? Mark these moments in the score. At these moments, the left hand may need tobe louder than the right hand. Use ghosting to achieve the desired balance.
! Are there any fingerings that now feel uncomfortable when applying the dynamics? Makesure your hands are always comfortable and that your fingering allows you to have aflexible wrist and relaxed arm.
! Is there a climax in the piece that can be brought out with dynamic contrast, asdemonstrated in the Tom Cabaniss Expert Insights video in Module 3? As you practice,keep Michael’s demonstration from the video in mind. Work on creating dynamic contrastby differing your speed of attack on the key.
© 2017 The Juilliard School All rights reserved.
3
Rhythm, Tempo, and Passagework
! Practice the piece with the metronome providing a click on every eighth note beat. Playthe piece at a slow, medium, and fast tempo. Now practice the piece with the metronomeproviding a click on every quarter beat.
! The first two notes of the piece serves as an upbeat to the next measure. In other words,the emphasis should always be placed on beat 1 instead of beat 2 of each bar. Tryexaggerating this rhythm in your practice by emphasizing beat 1 of each measure andpaying lighter on beat 2.
! Apply rhythmic drills to the piece by changing the written rhythms of each measure. Startby using the short-long and the long-short pattern you learned from the course.
! After learning from Rachel Straus in the Module 4 Experts Insights video about howdancers must achieve different rhythms in different parts of their bodies simultaneously,look for instances where you are playing different subdivisions in each hand. Analyzehow independent or dependent your hands feel at any given point in your performance.
Pedaling
! The left hand often provides an accompaniment to a highly articulated right hand. Usethe pedal in order to give resonance to the left hand while still allowing the right handarticulations to come through.
! Sing the melody to yourself, paying close attention to which notes you emphasize and towhich notes you provide a lighter texture. Use the pedal to help you convey thedifference between those textures and gestures. Keep in mind that pedaling can changearticulation, dynamics, and color!
! After listening to Nico Namoradze’s discussion about the history of the instrument in theModule 5 Expert Insights video, has your perspective on your pedaling decisionschanged? Go back and edit your pedal to achieve a sound closer to what Mozart had inmind when he wrote the piece.