Practice Guide

Sonatina in G Major, Anh. 5, No. 1, II. Romanze

Ludwig van Beethoven

Sonatinas are short and simpler sonatas, and often lighter in character. The Sonatina in
G Major is a charming two-movement piece that offers beginning pianists an excellent
entry point into the Classical piano repertoire.

Table of Contents

1. Score…………..………...…………………….…………….………..….......…2
2. Articulation and Phrasing..………………………….……………………..…..3
3. Dynamic Contrast……………………….…….………………..………………3
4. Rhythm Tempo and Passagework.………………….……….……...…….…4
5. Pedaling……..…………………………….…………………………….………4

© 2017 The Juilliard School

All rights reserved.
2
Sonatina Ludwig van Beethoven
Romanze Anh 5 Nr 1
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 Articulation and Phrasing
! Using the techniques Michael discusses in the Module 2 Instructional Video, discover the
best fingering decisions for the Sonatina and write them in the score. Do this by playing
each hand separately. Try different fingering possibilities until you find the most
economical 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 repeated
gestures enable sequential fingering.
! Once you find satisfactory fingerings, play each hand individually, while focusing on the
musical phrasing. Try different phrasing and articulations, and mark the ideal option in
the score.
! Like many classical composers, Beethoven composed this work in 4-bar phrases. Try
phrasing these four bars together, making sure that there is an uninterrupted melodic
line. Musically, which phrases seem to pose a question (known an antecedent phrase)
and which seem to pose an answer (known as a consequent phrase) or resolution?
! Looking at both hands, think about how the two voices relate to one another. Play
through every 4-bar phrase slowly, playing hands together, taking care to maintain your
fingerings. Decide on a final articulation and phrasing for yourself after hearing both
hands together.
! After listening to Brian Zeger’s instruction in Module 2 on how the Italian language
impacted composers of the Classical era, look back on your phrasing and articulation
markings 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? Can you apply the principle Michael discusses, (going up =
get louder, going down = get softer). Are there any exceptions? Also identify the
significant places 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 you
want these changes to happen suddenly or might you prepare them with a crescendo or
decrescendo? Mark these in the score.
! Identify any points at which the left hand takes on a more important role than the right
hand? At these moments, the left hand may need to be louder than your right hand.
Mark these moments in your score. Use ghosting to achieve the desired balance
between the hands.
! Are there any fingerings that now feel uncomfortable when applying the dynamics? Make
sure your hands are always comfortable and that your fingering allows you to have a
flexible wrist and relaxed arm.
! Is there a climax in the piece that can be brought out with dynamic contrast, as
demonstrated 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 contrast
by differing your speed of attack on the key.

© 2017 The Juilliard School 2

All rights reserved.
 Rhythm, Tempo, and Passagework

! Practice the piece with the metronome providing a click on every eighth note beat. Play
the piece at a slow, medium, and fast tempo.
! Apply rhythmic drills to the piece by changing the written rhythms of each measure. Start
by using the short-short-long and the long-short-short pattern you learned from the
course.
! After learning from Rachel Straus in the Module 4 Experts Insights video about how
dancers must achieve different rhythms in different parts of their bodies simultaneously,
look for instances where you are playing different subdivisions in each hand. Analyze
how independent or dependent your hands feel at any given point in your performance.

Pedaling

! The left hand is often the accompaniment for a highly articulated right in this piece. Find
a way to use the pedal that allows for resonance in the left hand while maintaining the
clarity of the right.
! Sing the melody to yourself, paying close attention to which notes you emphasize and to
which notes you provide a lighter texture. Use the pedal to help you convey the
difference between those textures and gestures. Keep in mind that pedaling can change
articulation, dynamics, and color!
! After listening to Nico Namoradze’s discussion about the history of the instrument in the
Module 5 Expert Insights video, has your perspective on your pedaling decisions
changed? Go back and edit your pedal markings as needed to achieve a sound closer to
what Beethoven had in mind when he wrote the piece.

© 2017 The Juilliard School 3

All rights reserved.