FUR ELISE / Beethoven - Piano Classics Adventures - Learn to play it at the piano | Ilse Lozoya | Skillshare

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FUR ELISE / Beethoven - Piano Classics Adventures - Learn to play it at the piano

teacher avatar Ilse Lozoya, Music teacher and Online Educator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (51m)
    • 1. Introduction

      2:03
    • 2. Fur Elise / Beethoven Performance

      3:36
    • 3. Fur Elise / General Analysis

      6:16
    • 4. Part 1 - Listen and read-

      5:19
    • 5. Part 1 - Analysis at the piano - -

      4:57
    • 6. Part 2 - Listen and read -

      2:54
    • 7. Part 2 -Analysis at the piano -

      6:45
    • 8. Part 3 -Listen and read-

      3:17
    • 9. Part 3 -Analysis at the piano -

      7:22
    • 10. - Broken Octaves Exercise -

      4:21
    • 11. - Cromatic Scale -

      3:30
    • 12. Congratulations!!

      0:53
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About This Class

Do you love classical music?

Do you want to play and enjoy the most famous pieces from the piano repertoire?

Do you play Fur Elise by Beethoven but not sure that you are playing it correctly?

This class is for you!

Playing Fur Elise from the composer Ludwig Van Beethoven can be challenging,  each piece has key elements that are not a secret but could be kind of hidden for the beginner student.

If you are a piano student and has the reading level that is required to play this piece, you will find this class really helpful, through practical videos the instructor will teach you how to play this piece successfully, it is important to mention that this course is not the kind of regular tutorial that teaches you note by note how must be played. On the contrary it is expected that you have the necessary skills to read this piece, why? because you are going to learn about the genre, the stylistic technique that is required and about the musical structure as well.

This class will teach you:

  • The complete performance

  • An analysis of the piece.

  • A listening and reading exercise.

  • Recommendations at the piano for each section or the piece.

DO NOT WAIT ANY LONGER!! 

ENROLL TODAY

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Meet Your Teacher

Teacher Profile Image

Ilse Lozoya

Music teacher and Online Educator

Teacher

 


Hello Skillshare community!!

My name is Ilse Lozoya I am a pianist and educator, I love to teach online because I can share about music, piano, and education with student around the globe and I think this a wonderful thing in our days.

 My Skillshare classes are dedicated to music students, if you are a beginner or a advanced student I am pretty sure that you will find a class that can help you in your music journey, you will find classes basically about piano, music theory, ear training and education.

 

 

 

 

Here are the links to my classes:

PIANO TECHNIQUE CLASSES: 

        Piano Technique 101 #1   - The 7 Min Routine -  https://skl.sh... See full profile

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Transcripts

1. Introduction: Hi. Did you play piano? But you want to really be able to play those beautiful and classical pieces from the piano repertoire. Well, this piano Siris are for you. This class is dedicated to learn how to play fear. Police from beat offend in a successful way. In this course, I'm going to tell you how to play this piece. Note by note. Do you actually need to be able to play this? You need to be able to have their reading level to play the speech. But what I want to show you Well, my name is Elsa Low. So I'm a skills your instructor and I'm very excited to share this class today. This glass is not only in a general way how to play this piece. I am actually not going to show you how to play it. Note by note. You need to be able to read it and then I want to show you and teach you what it takes to play this piece in a very successful way. We're going to analyze. We're going to analyze the type of music it iss the genera. I'm going to give you important recommendations and some exercises technical exercises, so you can really take them most and understand what it takes to play it successfully. And if you are a piano teacher, I am going to give you some tips on how to teach this piece. This is very important. You can actually see how I am going to play the space in a very slower way. And then I am going to be increasing the speed so you can download the pdf. The audio's on different speed. Sergio really can go at your own pace, understanding the peace. I really getting the most enrolled in this class today. I'm very, very excited to teach you and share with you the beauty off this classical pieces in this class of ice dimension. We are going to understand what it takes to play successfully fearless from B defense. So and role in this class today. I can't wait to see you in class 2. Fur Elise / Beethoven Performance : 3. Fur Elise / General Analysis: before really going further into the reading and listening exercises and all the oldest recommendations that I am going to give you directly at the piano. Well, let's make a brief analysis. This is very important. Before you start playing anything any piece or well, in this case, if you have don this if you have already. You know, if you are already playing in this piece But you haven't done this, I really recommend you because what I'm going to do, it really gives you the whole picture off. What? You are going to face the difficulties, something something is easier than you think. Or you will find that there some areas that you really need to work. So first of all this time signature of this piece, if we analyze, we see at the beginning that we have tree over eight. Actually, it means that the main rhythmical figure is gonna be an eight note. And as you can see right here, you're going to begin at the third beat off the measure. Here's where the peace begin. And so the tired signature is going to be tree over eight. The temple. Well, here it is. This war in this case it there. There are two words. They are written in Italian, and it says poco motto. Poco motto means with little movement. So it is not going to be fast. Why? Well, you'll see, especially when I explained this other piano that you need to really take it easy and don't play too fast at the beginning. So now let's go to the key signature. How can we know the key signature of this piece? At the beginning, we can see that there are no flats or sharps, so you have two choices you can be. This piece can be returning. See Major or a minor. How can we know if it is C major or a minor? We can see at the beginning how it big Ganz the harmony at the beginning and at the end. So at the beginning, the main theme appears on Right there I play a and then the left hand. So the court that the Air Pedro that appears there it's in on a minor and at the end of two piece, if you go at the end of the base, you will see that again. This piece finishes ends with a minor. So the kissing that you're a minor I am using this addition that the piece has three pages . But of course you can choose the edition that you want. This piece has endings. This first page has endings right here. There they are, circles. And the first part begins right with the main theme. And right after the second Ah, group off endings right there. Actually, if you just see without really reading on Leah first side, you can see that the left hand changes and the pattern begins different. So something happened right here. This is not the main theme. So the park number two begins after that, you can see that the here well are go. I'm going back in the second part. You can see that you have right here, not age. Knows you have 16 notes. More than that, you go over that and then you have this radical change. And in the right hand, you're going to play four beats. I mean, I'm sorry. Four notes, pair beat. So this is important. Here's where changed. And after that, the main theme appears again. As you can see right here to circle. So the structure. Now it's going becoming more clear. So the structure is going to be a B A or 1 to 1 as you choose to name this So the whole first section appears and then run here. The third part begins, As you can see again, the left hand gives you the clue. He goes, You have a continues base here and you just are repeating this note. So here is what it changes. The third part appears so this is going to be the sea part as well. You can say that it's a b A C, or want to want train the structure of the piece right now and then. And in this part after that, after the continue base, then appears old this Ah, arpeggios on. Then we have this chromatic scale, and again we finish it a circle while the main seem again. So right here we can see that the structure is a B A, C A or long 2131 And this is important to know because in this course well, first, this keeps you This really gives you the idea, the whole picture off Are you going to face and you can divide your study in three parts, actually 12 and three, and that's it. After that comes the process off. Be name was to play the whole peace with all the repetitions. And something important is that I am going to give you the older listener. Reading exercises and the the analysis off each part are going to be according to this, so that it's important to understand so you can follow me on the next lectures and videos. But this is important. A B, a C A. 4. Part 1 - Listen and read-: I am going to play the first part off this piece. Fear Lease from Beautiful. I am going to play this twice. I am going to set the methadone and 70 beats per minute. And because we are working with a tree over eight signature time signature, I want to set the matter known with that colleague. So every tributes you are going to sound at the Frank Lick I am going to play two measures before started to play on before those two repetitions. I am going to leave a two measures off the methanol without playing. So vegetation. Listen, and remember that this is a very good exercise so you can develop your reading while you are working with the temple and you are listening and connecting what you're reading and listening. So this is what I'm going to play. So just wait to measures. And then I am going to begin at the beat. Number three 5. Part 1 - Analysis at the piano - -: Let's take a moment and analyze the first part off this very, very popular I. I think that this is one of the most popular pieces in the world. Piano pieces and evil classical pieces. This is very famous, and here right at the beginning, is where directly the famous, the main theme of this piece appears. That's it. Actually, that's it. This is really the core theme off this piece and what happens here? Well, you need to be aware off the type of office and the type of peace and analyze what is written it says Bacho. Motto. Well, I've taken a there's, um let election, actually where I explain, explain on electoral way explain all the details off the music but the return music. But he says Okamoto, it means that has a little kind of with a movement, but not too much. So it's a little bit fast, but don't go really, really, really fast because you will have problems at the second part. But this is like a gentle theme. It says it has to piece, so this is, ah, dynamics and marking, and it says pianissimo pianissimo means that you need to really play soft. Don't play to allow because you're going to ruin this, especially at the end off each phrase. So this is everything is all this. First part is leg Otto, you don't have any staccato, so this is really important. You don't have to play well. You took like you don't have to finish the phrases Louth. So you don't have fourth this year. It's a very smooth arpeggio if you play like this. Yeah, What you gonna do? What? You're going to ruin the peace? Because your character the gentle on the smooth character off this main theme gets affected . So my recommendation this first part ISS plate controlling your sound don't play too fast. Listen to the result of larger playing control the strength and the amount off string that you are playing with. So and right here this is important. All the outrageous are going to be played with your left hand and most of them the last note It's going to be played with the thumb with finger number one. Your phone is very strong, So if you do this, you are going to run this and you need to be careful so you can use your wrist Gentle movement, right? You do this and you're relaxed so very gentle and you relax your hand here, always relaxing your hand at the end off each friends. So this is what you really need to be aware to use. Imagine, um is very common to play this white year because you have heard this many times and it is normal. But don't play too fast. Remember that you are just beginning to play this. Do you really need to be aware off the temple and on everything? Because you are going to play this with mistakes? I assure you, if you don't make sure that you are playing with the metre on with the correct temple So it take your time, especially this enjoy. Enjoy the sound off the phrases and every off the main team Don't play too fast and and enjoy Enjoy this first part. This is very important this introduction that here is exposure off the main theme. So this is how it is like like yeah, like, you know, playing using beautiful words right there in a very gently smooth way. Because otherwise if you play too fast, you will have problems in the second part. We are going to analyze this in the second video, but take your time and enjoy this. 6. Part 2 - Listen and read -: I'm going to play the second part off this piece. I want to play it twice and pay attention to the notes. As you can see, I mark right the beginning. After the second ending off the first part, I'm going to play exactly from the second ending and then until where the the main theme appears and you can see in the image you can send your screen that I circled this so you can know where I'm going to begin and finish. I'm going to play this twice, and I am going to play the methanol at 70 beats per minute, and it's going to be clicking every tree bits because the time signature is tree over eight I am going to. The method is going to sound as going to click two measures before I play. And between those repetitions to repetitions again, I'm going to leave two measures 7. Part 2 -Analysis at the piano -: Okay. Now go to organized the second part off this piece. If I have to choose certain section or certain parts off this piece so I can measure Really ? If somebody has the correct level to play, this piece is actually the second part. What if you analyze If you see the notes, you will find that the second bart has, uh the rhythmical figures change. So if you are playing so this is the speed right. Then you need to play four notes, pair beat at in the second section. So you have. This is where it gets a little bit, can be a little bit messy. If you are playing too fast the beginning, you need to keep playing with the same speed. So if I I think I began this well, maybe this is a kind of slow, but that's correct. When I get to the second part, right, it's exactly what the difficult part Well, you need to Blake four notes for beat, and you need to make them sound not really heavy. This is not before the meeting. You can get to like a meth so forth the point, but it is not really fourth easy. So the risk here is that if you began to fast when you get here, you get a stress and you don't maintain this kind of can tablet style. So it's very soft, gentle, not fast. Always legat also watch. My recommendation is here. Played your left hand. Very piano. Maybe you mark a little bit beginning official measure on Would you get to that area where you can't have problems? For example, exactly. When you get here right here, you need to play your left hand perfectly without any mistake but a very controlled speed. And then if you play like this, you won't be able to play faster. So don't play too fast. Control your sound. Control the movement of your fingers on your hand on then play in a controlled speed, then start increasing a very slow way. Very progressive way in Korea's the speed. Don't wait too fast. On what? My right hand. What I need to do what I want to recommend you to use your wrist when you get to this part way, have two things First I need to do this. If I play too fast on a plane to allow I am going to play almost like beating the panel. You know, between the night with my finger number five. Know that G note that is going to be a repeat. It needs to be played kind of soft because it is not in the strong part of the beat or it is not really important what is important. You are the older notes you need to listen. C g a B c. The a on. Then you get to this measure when you need to play that the whole measure, it's afraid, and you need to finish piano. So if you play like even moving your hand and playing too loud, each one stretching your fingers like this because you feel that you need to play louder. What? That's a mistake. You need to play a little bit louder the sea because the higher part of the phrase maybe the G a little bit rather a Finnish PM. Very important. I'm going to play this again. If you're this, you're going to bet and make have a balance with the string that you use, so that would be better. So yes, a metro no, really played many times, saved your time and enjoy. You don't play lips apart, it hands on, then playing together slower. If you don't follow this system, this procedure in a very progressive way, you are going to play this with mistakes and you are not going. Your plane is not going to be accurate. And really, it's a It's a shame because sometimes we can be playing the first part, so pretty and we get to this, which is a difficult part. But the thing is that we haven't practiced correctly. That's a reality. Maybe it demands more practice more, uh, like analytic practice. So that's my recommendation. Here, take your time. But please, please practices correctly so you won't have any problem. And you really will keep enjoying because this is only the This is the second part of their the pieces still going. So we really need to control here the force and the speed that we use when we play 8. Part 3 -Listen and read-: Now I want to play the third part off this piece. Ask. You can see you can divide this fear. Release peas into three sections. The 1st 1 is going to be a P Ranger that that's the one that has a main theme. So you have sexual one than to again number one, and then the third section appears. This is the part that I'm going to play. Remember, I am setting the methanol in 70 beats per minute, and because the time signature is tree over eight, they're going to hear a different click. Every treat beats. I am going to play this twice. I am going to leave the metronome sound two measures. Then I'm going to start, And between the repetitious, I'm going to leave again to measures off only the metronome clicking. 9. Part 3 -Analysis at the piano -: Now let's analyze the third part off this fear Elise piece. We have section number one, then the second part, then against sexual number one. And then we go to the third part. So this is important because this is where I say the more dramatic section appears. Second number two. Section number two It is not the most dramatic. It's kind off. It's more playful. You need to play faster, but rhythmical figures demands to play more knots. Repeat. But right here, you need to control because you are getting to this section. Right? So this exactly what I just lay is one. It's where you can get confused and you can get this wrong and suffer later. You can suffer here, but no, we don't want to suffer. So I'm going to give the American mendacious in this What? First you have a stay. A base which is continuous. So you're going to join me at the beginning of this section? Actually, this section begins right here, right here. So I need to play this. So I need to repeat the notes. This a note is going to be repeated several times. Then I actually going to play he repeating the eight note with another, but something important. I don't know if you have heard this before, but maybe you have. But I want to remind you this this is very important. If you're in piano when you need to play one note several times like this a rule. Never play the same note with the same finger. Why fighting this? But any finger you can choose the destruct, your strongest figure. What happens you're going to play to allow you're going to lose the temple and do your finger can get tired, and that can make you feel, you know so stressed here. And actually you can you can injure. You have in danger here. So we don't want you to hurt their finger because you want oh, play with the same finger If you play 131 tree, that is going to be much better because you can control and you can have a balance with the strength of your right here. So when you get here, you can use one entry or, if you are used to, you can use four tree to one because right here is not a staccato. Do need to begin piano. So when you play, of course, you cannot be changing fingers here. But use your wrist, your hand so you won't do this like this. This can really stress your hand and your wrist. So you like this? It's a little bit like playing like this, so use your arm so it can help you. This is very important. Okay, let's go to this section that I was telling you. You have after this, um 1231 to treat. And then the arpeggio appears. Well, if we analyze this on, we was simplified. This I can tell you this is a a mine or our pigeon needs to be played three times this three times until you get to the B flat. And then you played by semi tones. Iskra matiz. Um, so a mistake Do need to play with the same fingers. Because if you do this, if you change your fingers, you are never going to be able to place fast. You need to be able to play this leg, Otto, without the pedal, the pedal is here to help you. But it is not going to solve you and give you the sound that that you can produce if you play this leg, Otto by yourself. So then if you play like that and then you at the pedal, the sounds going to really much better. So it's going to be my recommendation. One to train, then one tree five. Then you can go back to the A and start again. Deeper. Pedroso. Want to drink? I want to drink. 135 How can I play this leg? Otto, I use my wrist. And I passed my thumb so I can really play leg Otto from E to a. Why I wanted to do you said the Metrodome. Not fast. Want to drink? You do this while many times controlling without any mistakes. What? I really don't recommend you to do this and just keep that. That's awful. I have to tell you No, no, no. That really ruins the air pages. So want to drink? It's going to sound is going to be easier for you. So used at fingering And would you get to the primitivism? Just mark a little bit. Small accent, tiny accent. Every tree down to 300 Don't do this. Don't play too loud. So just control your finger and I will help you to Valence. The strength that you use on that is going to give you a better sound. So did your time. As always, played separated cans using methadone Go at your own pace tone Play too fast because you are going to get really important to problems and trouble when you get to the section. If that all the rest of the piece you started to too fast So take your time plate slow. Please. Please place. 10. - Broken Octaves Exercise -: another way off. Practicing the yen off the first section off futile is this practice. Is this thing called broken octaves? Well, as you can see at the end, off this section appear something that needs to be played like this. That section where you really need to play only e several times. Actually, it really makes all the students struggle, especially if they do not know how to approach this in a very effective way. What I'm going to recommend you do, you are going to play eat plea e would your finger number five and then we're going to play the next on. Actually, you can do this as an exercises and get at as an exercise to get really fuck feel comfortable and familiar with all the movement, all the area of the keyboard so you can t o first only with your finger number five just playing on then the next one. But pay attention that I am not passing my, my my fingers like this through the key. Where I'm doing is making a movement. We're just actually like a curve. I am doing this on then I play so my hand is relaxed but kind of open. So my finger number five I just use her to get to the and then go to the next mean like this. So first I am want to practice getting to the, uh, very slow. I can do the same here with my thumb from here. Why not remember that? It is not only playing what is written in the music. I mean, you can use this USAA general exercise and practices and that is going to help you To play another piece is better. If you have practices now, after done this play, then next eat. But you know that I am first time doing this on they I am playing this leg. You can do the same here. This exercise is really want to help you to move your hands. And after that, after you practice this section like you know, we're like splitting each section from this area. Several hands, please. First on Li e than the broken octave. Then together. So please play this very slowly, incredibly slowly, incredible. Slowly on play many times it doesn't matter that maybe you can play the beginning like this . You can t o excellent, but that doesn't mean that you are capable yet Play this part as I just it. So I'm going to want you to do is to play like this very slowly without mistakes. Many times it doesn't matter that maybe you are do our practice in the rest of the peace and you are not yet capable to this. You keep practicing until you get to the speed to the safety that you're playing the rest off the piece. So this is my recommendation for this area. So take this technical approach and this is going to help you to play better and more confident when you play the final off the the end of the first section off fear police. 11. - Cromatic Scale -: I'm going to share with you this exercise that it's going to help you to play in a very, any more fluent way fear release. Especially when you get to the chromatic scale. What ISS chromatic scale. Maybe you remember this, actually. Oh, I'm gonna get out of focus a little bit when you play this US airplane from the beef lab, but it's too optics higher. This'll is called chroma Autism or chromatic scale. And let me tell you, from sea to the black, he when you play from Blackie to the next one, this is called There's a distance between this key. On the next one you have half Sepp or a cemetery. And when you play, for example, from sea to the seat, the next layer the keys notes. But holding is like this. This is called chromatic scale, and it is important for us to be able to play this to have a recommended fingering. So you can play this fluently because when you get to this point in this piece, few release your need to play a kind of fast and you need to control because you are playing actually triplets and you have to do this, so but it is important. So you can't really call in front. So I'm going to suggest you a fingering are a couple of there are a couple off finger rings that you can use but my recommendation used to play one string one tree. I want to close my fingers under this and playing wrong drink one drink and then one to drink. 131 tree. And if I am playing this in one scale, I'll finish with finger number five on. Then again, 3123131 Play this, Theo. Can this plane into Octave you want what is going to change when you get a second uptake? Want to play one tea tree again? I want to treat So you are you seeing where I am playing? Basically 12 entry when I don't have a black key right here. The rest of the notes are going to be one dream run. You're going to the same with your left hand. 12313 country, one treat and you continue. You want lane play separators hands so you can watch your can and looked at your plane like this thing. This this is going to prevent you to play faster. There's going to hold you. So practices practice, playing our eighth notes and triplets, and this is going to help you to really play in a very more fluent Wait this section off fewer police. 12. Congratulations!!: Congratulations. You are now at the end off this sculpture class. Thank you for letting me share with you about the beauty off, whether music, piano or education. Thank you. My name is Jill Salo's. Oye. Again. Thank you for being part of this class in this community. Gives You want to check out the rest of my classes to just go to the next? Plaster is recommendable for this one that you have just finished. We'll check out description off this class, you will find all the links there. You have any questions, please? You know, I will be very happy to hear about your comments and your suggestions off this class. And you want to know which glasses recommendable for you now was just let me know and I was very happy to help counter to lay just and I can't wait to see your in another class