Keeping to a steady lesson and practice schedule with your piano teacher is always the best way to achieve the most results when trying to learn to play like a pro. At the beginning, a thirty minute practice session will help you play those simple Beethoven pieces nicely, but when trying to learn some of the great piano Sonatas — one hour a day is best.
Hopefully, listening to these masterpieces by Beethoven will inspire you to continue or start with your NYC piano lessons and get you playing like, well, Beethoven! Your email address will not be published. This site uses Akismet to reduce spam. Learn how your comment data is processed. Piano Chords Explained. How To Write Music. Music To Your Home works with some of the most talented musicians in New York City and now we are able to share our incredible teachers with clients all over the world through our live online lessons.
Facebook Youtube Twitter Instagram Linkedin. Give the gift of music Gift cards are the perfect gift for any ocassion and can be used for in-home or online lessons. How To Hold a Guitar Pick read more. How to Play Beethoven Like a Pro. Music To Your Home July 8, Table of Contents. So how can you learn to play Beethoven the right way? Step One: Find the right instructor Besides having a piano and two hands, the first thing you need is a great teacher for your NYC piano lessons.
Step Two: Start small and grow Once you have completed a good method book like Alfred or Faber, its time to move on to some simple classical pieces. Step Three: Practice, Practice, Practice Keeping to a steady lesson and practice schedule with your piano teacher is always the best way to achieve the most results when trying to learn to play like a pro. Fur Elise Moonlight Sonata Hopefully, listening to these masterpieces by Beethoven will inspire you to continue or start with your NYC piano lessons and get you playing like, well, Beethoven!
The structure is A-B-A-C-A, and, of course, the repetition of the main theme makes learning and practising the piece relatively straightforward.
The constant semiquaver movement throughout poses a problem in terms of evenness of touch and fluidity and it needs good dexterity in fingerwork. At the same time, it also demands suppleness of approach in the wrist and arm. Otherwise there can be a slightly mechanical effect, which is entirely the opposite of what is required musically. There should be a sense that the music does not have barlines, so that it flows forward without rigidity.
Practise this section at a slow tempo, making sure that you play as evenly as possible, without accenting any notes unnecessarily. Follow the pedalling written on your score. Note that if you take care to slightly overhold the LH fifth finger, you can depress the pedal without hurrying and also ensure that you do not lose the important bass notes in the arpeggios.
Then harmonic changes are clearly shown but there is no element of urgency. Gradually build up the tempo to the metronome marking suggested — but remember that the marking is only a suggestion and you may come to feel that your natural tempo is a fraction slower.
This is fine, as long as there is an overall sense of movement and progression. Before you re-enter with the theme at bar 15, it would make musical sense to make a little ritardando to ease your way. Keep the LH nicely cushioned in tone by staying low in the wrist and by finger pedalling overholding the fingers slightly and there will be enough of a sense of pedalling support but without losing any of the harmonic clarity.
Aim for a singing tone in the RH, but at bar 30, lighten the touch somewhat as you play the faster demisemiquavers, so that there is a real feeling of fleetness. If you find yourself stumbling over any of this passagework, try using different rhythms to help you gain control of the articulation. Hold up various beats in turn, one after another: first, play the first beat at half speed while playing the second and third beat as normal, then do it to the second, then the third in turn.
Coordinate the LH exactly with the passagework; slow practise building up the tempo gradually is one of the best ways to achieve this. The repeated A in the bass line feels quite threatening and sinister. It needs to be a presence, but at the same time, must not overwhelm the singing RH chords.
Listen very hard to the balance, and keep your hand close to the keys and your fingers curved. Repeated notes with changing fingers can be awkward, but again, a slow build-up of tempo and direction will help to bring this under control.
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