Playing the Moonlight Sonata | Dimitrov Boelee | Skillshare

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Playing the Moonlight Sonata

teacher avatar Dimitrov Boelee, Piano Duo

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Taught by industry leaders & working professionals
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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

11 Lessons (1h 31m)
    • 1. Moonlight Introduction

    • 2. Moonlight Sonata Lesson 1, Part 1

    • 3. Moonlight Sonata Lesson 1, Part 2

    • 4. Moonlight Sonata Lesson 1, Part 3

    • 5. Moonlight Sonata Lesson 2, Part 1

    • 6. Moonlight Sonata Lesson 2, Part 2

    • 7. Moonlight Sonata Lesson 2, Part 3

    • 8. Moonlight Sonata Lesson 3, Part 1

    • 9. Moonlight Sonata Lesson 3, Part 2

    • 10. Moonlight Sonata Lesson 3, Part 3

    • 11. Moonlight Sonata Lesson 3, Part 4

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About This Class

In this class we are going to talk about the first movement of the Moonlight Sonata by Beethoven. We've divided this course in three different musical section. 


Section 1: Bar 1 - 23

Section 2: Bar 23 - 42

Section 3: Bar 42 - end of the piece


In each section each of us presents an idea, either from our own view as performers, or from a teacher's point of view ( aka. what most students find difficult )

The best way to follow along with each lesson is to use the digital score we've provided for you in the project section. You can download and print it, then sit behind your piano and follow with ease. Pause the lesson whenever necessary and try out our suggestions.

Please let us know if you have any questions or requests about this piece, or any other piece you're playing. We'd be very happy to hear from you and help you. 

PS. Check out Dimitar's MindCoach classes on Skillshare 

Self Awareness, Self Honesty, Consistency and Progress

and YouTube Channel with him practicing his own pieces


Meet Your Teacher

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Dimitrov Boelee

Piano Duo



Originally from Bulgaria, Dimitar was called by jury members of the many competitions he won a 'Lion of the Piano in the tradition of the old Russian's'. It's his passionate and commanding playing that sets the tone for the duo

Dutch pianist Elvire was already winning prizes at 11 years old. Playing in many ensembles and with orchestras during her music studies in the Prins Claus Conservatory in Groningen, she knew when she met Dimitar Dimitrov, she wanted to form a piano duo together. And she managed to convince him... forming the DimitrovBoelee piano duo in 2014.

Elvire Boelee and Dimitar Dimitrov are both professional pianists, having studied their Bachelor and Master of Music in Groningen and Amsterdam (the Netherlands).

The DimitrovBoelee piano du... See full profile

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1. Moonlight Introduction: welcome everyone to our course on the first movement of the boom lights. Another by Beethoven were piano dough, the Metro Boulais. My name is Dimitri Dimitrov and I come from book area and my name is available and I'm from the Netherlands were both graduates of bachelor and master in the Netherlands and as a piano, Do we perform already for several years throughout the whole country? We also both have over 10 years of teaching experience in which we have helped many students achieve their goals. We've divided our course into three different parts in each part. Each one of us will present you with one idea. Our ideas come not only from our own point of view as a performer, but also from our experience as teachers. With each idea, we explain to you why this idea is important and also how you would achieve this idea. And many tips to practice were extremely passionate about providing conscious knowledge to our students, which means that we would like to see benefits not Onley into this first movement of the Moonlight Sonata by Beethoven, but also all the future pieces you're going to play. We both find it very important that all of our students have a very firm grasp on the fundamentals of piano plain and so you can expect not only a short term developments but also a long term development with our courses. In order to follow along with this course, you have to be able to easily read, note and understand basic rhythm. In addition to that, being able to easily read pieces with several sharps and flats would be useful as well, and something that may be very surprising to you in orderto have best results from our course. All you need to do is practice and apply our ideas and make sure to practice at least 15 minutes a day on a consistent basis. And one last thing we've provided you with the digital score that you can download and print if you like. Then you can sit behind your piano and take all the time you need to learn, understand and apply our ideas, and the most important thing for us is that we have contact with our students. We would like to receive questions, requests and suggestions for future pieces. We want to be s relevant ESP possible to you and all our students See you in part one of the Moonlight Sonata by Beethoven 2. Moonlight Sonata Lesson 1, Part 1: welcome everyone to the Metro Blais and our course on the famous Sonata by Beethoven, Opus 27 number two, also known as moonlights Another. Today is going to be our first lesson on this first movement of the Samata, and we divided the peace. Like we said in the introduction in three different parts. And today we're going to talk about first part of the peace, which starts, of course, in bar number one until bar 23. Don't forget to Donald the digital score that we've provided for you, because it will be a lot easier to follow along the things that we're talking about. Let's get straight into our first lesson. I would like to start with something very obvious, and that will be the trip. It's in the right hand. I've chosen to talk about the trip. It's because it's how the whole first movement is built on, and it is extremely important to know how you can play them better. The triplets starting Ber one and don't stop until the very last bar of the peace. They are an absolute essential part of this piece. It's something interesting to talk about because on the first place. These triplets are actually quite easy to play. Almost anybody who can read notes can actually sit behind the piano and playing trip. It's but behind this. There's something very difficult, and that's the musical approach you have with this piece. Like I said, it's really easy to play anybody who can just read notes, consider and start playing those strippers. They're really not that difficult technically. But today I would like to show you something very interesting Out like to approach the piece from the musical side. I'd like to explain to you how you can play this triplet, so they sound really, really beautiful. Like Dimitar said, It is very easy to play these triplets. But just playing the notes isn't enough. We need to know what meaning do the triplets have and how do you translate that? Let me give you a little example. I'll play the piece in two different ways, and I'm very curious if you'll notice the difference. The first approach of playing this first movement would be this. The 2nd 1 will be like this. I wonder if you could hear the difference. To me, the difference is enormous. I could hear so obviously that the second version is so much more pleasant to listen toe. And that's why I wanted to talk to you about this subject because it is so important that you play this movement very musically. So what's the difference between the first and the second version? Well, it's something very simple, but we need to work on that. We need to know what to do and how to practice. The difference is that in the first version I played the trip. It's all with the same volume. Basically, I played every note, the same voice like this. Yes, harmonically and musically. The peace sounds beautiful because Beethoven wrote something very beautiful. But as a shoulder, the second version can sound so much better, so much more pleasing to the ear. And what I did was basically I made a deck crescendo in. In other words, what I did is every triplet. I made a deck crescendo within every trip. It like this. The first known was the most, the second less, and the third note was the softest. One of the most important things to remember is that the last note was the softest that what makes the enormous difference like this. You can hear my last note repeated in Bar one, Bar two and then later that note may change that last note that the trip It may change, but what's extremely important to remember is that that last note has to be the softest off , all treat each triplet. That's what will make a big difference in your plane. I'd like to add one more thing before I explain to you how you can achieve this beautiful results. And that's that. You can think of music as a way of speaking when you speak to somebody and when you speak. Generally, we never do it in a way that is more notice, right? If if I speak to you right now in one and same volume and I never change anything that sounds very monotonous, it's not exciting to listen. Toe. Our voices always go up and down, and the same is with this worst movement. That's what makes the difference, because if I play all the same, nothing is happening with the music, it's all the same. We're just listening to note that come one after another and there is no connection. There is no message. And when I make the decoration within each trip, it that's what makes ways in the music. That's how music sounds very exciting and very beautiful to listen. Toe. So remember one thing with each piece of music that you're playing. It's very important to book for the musical message and how you do that. One of the ways you do that is never play everything same. Never play all your notes the same that will be the bottom line off course there many more things that we can do, and we'll share them with you in our next courses in this course. But remember, one of the most important things is, don't play all your notes the same voice. Now, of course, it would be wonderful if we actually give you the answer to how you can solve this problem and how you can achieve desired result. Like I said earlier, we need to achieve that. Each triplet has a deck crescendo within itself, right? So we have to have a deck crescendo within each triplet like this. One of the ways we can do that is to exaggerate something, so first of all, we have to do this in a very slow temple. I would like to do it extremely slow. Yes, the species generally slow, but we have to practice it even slower so we can hear and observe everything we're doing. The first way of practicing I would like to do is this. I'd like to exaggerate the first and second note and play them a little bit louder like this on the last one. The softest. You can do this without and with battle. It doesn't matter as long as you're doing it slowly and you listen very carefully like this again. Make sure is that the last note is the softest of all in this office. Then you can go like that in part three, Bar four and the rest of the peace thesis Bar tree, then the next court. So this if you think about it, it's not how you're going to play the piece. This is basically a neck, sir. Size. Sometimes we need to do exercises that are not connected directly with the way we're going to play the piece. But they give wonderful results. So that will be our first exercise. Very slowly, very carefully. You have to listen that your first and second notes are exaggerated, their louder so you can make sure that you hear the last note as the softest. Well, after we do this first exercise, it's time for a second world. What we're going to do now is we're going to do basically the same, but we're going to play the first and second notes together of each trip. So the first exercise was this. And then this office, not now. Second exercise would be the first to know to be together. No. So that soft Inbar tree will go with a different court like this bar four. It's that what we're trying to achieve is to teach the hand how to approach the louder notes and the software notes. That's all we're trying to do. First, we trained the hand by basically play separate wards on in this office. There would train the hand by playing these two notes together. So we're looking for ways to really get used to playing the 1st 2 notes louder than the last note. Now, if you are already able to do that with the Hopis, of course I cannot show you. Now The hope is because this lesson will be just enormous. It'll be days toe watch. I wanted to make sure that you practice the whole piece like this and half the patients to actually do that have the patients to pull through from the beginning until the end of the piece. Those two ways were the first steps we were going to take toward playing very musically. Now, when you're able to do that, you feel secure. And if you more confident it this time, toe practice in a little bit more advanced way. 3. Moonlight Sonata Lesson 1, Part 2: since we're not playing the piece like this, all right, this is not the peace. It's time to separate the note and style speed up a little since we're practicing only slow until now. Now we're going to go a little faster. But we're going to do one little cheating kind of cheating because we want still to ensure that our last note, the repeated note triplet is the softest one. What we're going to do is this You can do, by the way, this hence together Absolutely. You can do that because then you can hear how the peace sounds as complete. So what I'm doing now is I'm playing approximately in the speed. I'd like to play the piece. This is a speed out, like to play. But as you get here, what I'm doing is I stopped before each third. No, Why? Because I want to make sure that I will play the third note, the softest that gives me a little bit extra time so I can focus and make sure that I execute this third note really softly. In my opinion, you have to be patient and make sure to start from step one. I showed you then Steptoe. And then only then go to step three because most of the people are very impatient. They want immediate results. But this third way of practising is a little bit more advanced than the first and second. What our students would do most of the time, which we consider a big mistake, is we ask them to stop her before the third note templates, oft or us. That's very simple. You see, I stopped every time. But our students will do that once or twice, and then on. Then they start playing this third old louder and louder and louder. So like I mentioned earlier, no patients, no follow through no results. So make sure that your patient make sure to follow the steps. And I can promise you that you have a wonderful results and you sound really good when its first move. Sometimes my students tell me my fingers aren't listening to me. I'm trying to play this notes This last note soft, but my fingers don't want to do it Well, there are three reasons for that to happen. First reason. Very simple. Most of the things if you're not succeeding, you are flexing too fast. So first thing slow down. Second thing is anticipation. You have to with your mind first, anticipate that the note should be softer, the more precise You know what you want from a note, The better your fingers will listen and do what you want. So anticipation. And because anticipation, of course, takes time. That brings me back to my first point. You have to slow down. You have to get used to anticipating. You have to, uh, speed up your anticipation. You have to get used to that and under third point, I think is also very important. And the most difficult is you have to be focused. So if you want to play every triplet in a day crescendo, you have to listen to every single triplet from the first part until the very last. Work and data is a lot of triplets, so that takes a lot of concentration to listen to every single note. The second you don't listen to one of your trip, it's last note will be probably louder because your hands will probably just do what it wants to do. Naturally, it will give you an accent. Yes, and what's very important than with what are very saying. This is very good advice, and I would only add in order to keep your focus hide, I would advise you to just divide the peace in little sections so or practice only 15 minutes or practice only 10 minutes or five minutes. Just figure out. We always advise that people have toe have teachers because they can observe what's good for you, and that can give you further advice. But generally just divide your practicing short chunks so you can keep your focus high. Make sure to ask us below if you have questions about this about the subject. I was just talking about how well Vera wants to share something else with us. So today I would like to point your attention towards the time signature. So the time signature is something that you see at the very, very start of the peace before even the first note starts. It's very important always that you pay attention to it, though in this case, if you would have happened to glance over the time signature without paying attention, you would automatically think the piece in four because it's written the trip it's in three in four groups of three. Uh, you see, the half knows you see the whole notes. But what fascinates me in general is that if you just make this small mistake of not glancing at the time signature that your whole interpretation changes. Why it's written the A. Daschle Temple, which is slow but not too slow. But the doctor tempo, of course, changes very much. If you think in four, it becomes a lot slower, and if you think it in two, it becomes a lot faster. So why do I say in two? So if you do look at the time signature right now, you see a sea, which stands for common time, and quantum time is for four. But through that, C is a vertical stripe, which means that it's a 22 time signature in which the half note is one beat. Generally cuts time. Allah brave. It's called eyes reserved for very fast pieces, which makes it so unusual that it is actually written in an ad agile piece. That's very unusual. So I would interpret that as meaning that this piece definitely shouldn't be played too slow and also what's very important if you don't know about the libretto. What what composers use that is because they don't need to write as many notes, right. They can write longer duration notes like half notes and whole notes, and you can count the much faster so it's much easier for the composer toe right? Not, as many knows, he just changes the time signature, and everything becomes double faster now, as I mentioned just now, it is very usual to do this in very fast bases and making them even faster, so that would influence the temple very largely. And here I think it's much more of a subtle difference not only in the temple, which goes a little bit forward if you think into, but also in the way that you play the triplets. Now I will demonstrate this in a little bit. But first, let's make a little demonstration off thinking and four versus thinking into. So, for example, if I don't notice the 44 with the vertical line hours instinctively start playing the piece a little bit on the slow side and out play something like this to dream for, to dream fel etcetera so you can hear that it's a little bit on the slow side now. We're not saying here that that's in any way wrong. You can absolutely play the piece so slow. It sounds good. But what we're trying to explain is that if you change your thinking and start thinking in to right, if you change the time signature for 44 222 you get double faster Temple or you can approximately two double faster tempo and the peace start sounding like this to to etcetera . So what you can notice, which can feel, is just that the B starts flowing, starts flowing and starts moving forward and forward with much more ease. And so it is very, very important to know the difference and to know that it is actually possible to approach the peace in two different ways. It wouldn't be wrong in any way to play slow if that's your taste, but feel free also to explore the faster version. And that's what the other bragging means. It offers us this opportunity to explore the beast in different ways, 4. Moonlight Sonata Lesson 1, Part 3: now, as defender says, it's not like any of those options are wrong, and we can't ask Beethoven anymore what he wanted. And I also think that when you are the one that's playing the music, you absolutely have to play it your way because that's why you play music to express yourself. It's just that don't feel limited by the ADAC Joe, as in thinking It should be slow, and it's really nice to experiment with different interpretations. It makes it so, so much more fun, and it also makes it so much more convincing when you choose one option that you do like what I think. I find the most interesting thing having looked at the peace, careful in having discovered that it is in a to two time signature written, Is that the feeling of the triplets? So even if it wouldn't change your temple that much for me, I think it's interesting because the feeling of the trip that's changed in the way that if you think in 44 there more grounded because every time they come together the first trip it with a beat. They feel like they're grounded in that beat, and it's the peace sounds a little bit more static, a little bit more standing in one place. It's too beautiful, but it stands a little bit more. And so if your preference is for more flow, then of course, deal. A brother presents us with another opportunity. Yes, I think if you do think in two, as is indicated by Beethoven, I think the trip it's few more weightless, and I personally like that very much. It sounds really like they're kind of off to the horizon, you know, there, they don't have this beat pulling them down to Earth. So I really I really do like that. But as we were saying, There's no right or wrong, it's just really, really nice toe know that you have these options. So if you do decide that you like this Allah braver interpretation, I'd like to suggest to you to practice in two steps. Since the 22 times signature requires a very long view of the piece of very good overview, I would not recommend that you start with this. So Step One is actually practicing in a 44 time signature, thinking for and practice in thinking in four so That means that that you think every triplets on the beach practice with the Metrodome, if you like. Practice counting out loud if you like. That all improves your rhythm. And when you when you decide toe, go and practice for the Allah breath to think in two instead of four. If you go to SUNY, if you do that too soon, you're in danger of actually making a lot of mistakes. We see that with many of our students. They love the idea of playing into right, but you have to be ready for it. So we always strongly recommend that you first burn the piece very well. And that means perhaps playing it before you have actually no other option. Because if you play it slowly, if you practice the piece like this and that's actually how I practice it sometimes and then I truly think still in four. So that's not a problem. Start with thinking in four, because that comes you down and you can explore everything. And when you know the pain, the piece very well, then you can start practicing into yes, practicing, and two requires a very good thinking ahead. Now you know that if you're just starting with the peace, you can't think ahead. You can barely think of the note after the one you're playing right now. You don't have that. Uh, that's thinking ahead. So exactly start with thinking just right now in four in a nice and slow temple and as soon as you're very, very comfortable, then will be step to and that is thinking into now when you practice thinking in to First of all, make sure that you actually know where the beats air coming. This might seem very simple, but you do have to consciously know it. Otherwise, you're going to get very, very wrong things. So make sure that you know where it's coming. It's coming every time at exactly halfway through the through the bar and, of course, on the first beat. So that is the first thing to make sure. If you know where the beats are and then you can practice that I would recommend practicing this with the Metro No, because that requires you. If you put the Metrodome in ever to beats, it requires you to feel don't inner beats yourself, and that is a bit more difficult than it sounds so I would definitely recommend practicing that to improve your general rhythm as well. And since this is quite difficult, like I said, um, do directory thought of a little in between step that you can try on well demonstrated to you now. So we're going to set the Metrodome to 30. And so having 30 with the Metrodome would mean that we get to triplets together with each click each tick of the metro. Everything represents to trip. It's and I will show you, of course, how to practice this now. So we decided that it's better instead of playing the piece normally in 31 shin or the peace and you played before and you played very comfortable, You know, everything. Um, it would be better for you if you start doing this with courts because it will be slower. You have still time, time to think ahead. So this is now 30 and we're going to practice with only a course like this, etcetera. This will be much easier to do than starting right away with triplets. So the next step would be to try it with the triplets in the same way. So instead of playing the courts. You now play the trip, it's and I'll remember this is a difficult exercise because you have to fill in all a lot of notes before the tick comes. It's a good exercise in general to do, and this as well is a great exercise not only for this piece, right, because if you want to achieve a lot braver, but it's a great rhythmic exercise, your rhythm will develop dramatically because of this exercise, because, like a bear said, you have tow, think and feel the gaps in between the metro comes in stays with us only on every two triplets, and so the rest. You have to feel by just and dissipating when the Metrodome is coming. So it's a great exercise. I want to tell you two things. The first is don't worry if you don't get it because it is a great exercise. Even the exercise of trying to feel in the notice already exercise enough, even if you cannot get them together. Quite uh, quite well, just make sure to make that a regular part of your piano practice, even do it with pieces that aren't l a braver just to get that exercise there. And I have another idea. I just got another idea now, and I will show you how you can practice. So if you really cannot dose of courts, right, then of course, you know, be able, you know, be able to do trip. It's I have another idea for you. Can you set the Metrodome for me? So we get the metro again the same way 30. But what I'm going to do is I'm going to play only the first note of each trip. It looks like this only right in this way. You're playing only one note. It's so much easier to follow. And at the same time, your training Absolutely the right skill, your training, how to play into this particular movement. So finally, when you do get used to the Metrodome a bit, feel free to turn the methanol, often to also try it without the metronome. What is great about this exercise is that since you have already been trained now by the Metrodome to think in two, you can start feeling a bit more free musically, Teoh to take a little time or to speed up a little bit and to really enjoy playing into Yeah and don't feel obliged because you practiced with the Metrodome and you have to come on time, right? Every to triple it. You have to be together with vaginal when it's which off the match gnome don't feel obliged that you really have to be on time. The Metrodome is only training you to think a little bit faster, a little bit forward. That's the whole point of this exercise. You don't have to stick and come exactly on time on every note. Really, that's not necessary. And that's not the point of the exercise. The point of the exercise. You just trigger your thinking, do. That's all. Well, this were our ideas for today. We're really hope that you like them, and what we hope for is that you try them as well and make sure that you're very precise in your practice. And if you have any troubles and you don't understand something, make sure to contact us. Make sure to send us questions, and also we're very, very open for requests for other pieces as well, so we can create products that are even more relevant to you in the future. This was all for part one of our course on the Moonlight Sonata by Beethoven, and we'll see you in the next lesson. 5. Moonlight Sonata Lesson 2, Part 1: welcome everyone to the second part of our course in the Moonlight Sonata by Beethoven. Today is going to be also our second lesson. If you haven't already downloaded, the digital score would provide you with. Make sure to do so because it will be much easier for you to fall The suggestions and ideas we're going to share today with you. I'm going to start right away with my first idea for today. And that will be the relationship between the trip it's and the melody in the right hand. So, as you can see, our section starts. The second part of our core starts in Bar 23 it ends in Bar 42. And what I mean by the relationship between triplets and melody, I mean this. If you look at Bar 23 we have first only trip. It's but after dots, we have a melody introduced. So we have triplets and melody in the right hand. And that will be the subject for today because I think it's extremely important to know how to play and how to practice those moments. If you watched already our first part of our course you problem no that I talked about the balance in the trip. It's alone of the right hand, but now, since you probably already practiced those triplets and you feel better with them if this time to go a level higher and that will be balance between the trip, it's and the melody. This is so important because balance in general music is everything without proper balance . Everything sounds dull, monotonous and boring, so we want to always have a proper bells. It not only sounds boring, the public wouldn't also know what to listen to if you don't make the melody very clear. Generally, if you don't have a proper balance music and sounds more like in one dimension instead of several different dimensions. So the more variety we have, the more levels of balance you have. The more engaging music is for the ear. So that's why it's so important. Toe always balance everything, and not only that we have musical benefits. Not only that music sounds better and more interesting to listen to, but also there are a lot of technical advantages from balancing everything from having proper balance while you're playing. If you're a beginner and if you're not very good. Yet you might not know about those benefits, and you might not feel it yet. But the better you become, the more technically difficult pieces you start playing. You will know this. How dramatic changing, how dramatic benefits you can have from Bella's improperly in this particular piece in the first movement of the Moonlight Sonata. What you will feel if you do the idea I'm suggesting to you today, you'll feel that your piece you're playing much more beautiful and second Paul from the technical benefits because it is not a fast piece. What you experience is, he's you experience that your hand views so much more comfortable, and so it is so much more pleasant. Also, to play this first move, let me give you a little demonstration in Bar 23 24 of two kinds of balance. One. The 1st 1 I will not try to balance things very well are just play as it comes, and the second version would be with proper, well developed balance. Listen to that. I started Bar 20 treat, so that's I'm not trying to do any kind of balance. I'm just playing the notes as they come now, in the version that I truly like and I truly think is extremely important for your both musical and technical development. You will see the difference. I'm sure that you can hear the difference and you can appreciate how special the second version sounds. How much more pleasing to the year this And now I'm going to show you a few ways how you can do that. But before that, I want to tell you what exactly I did. So what do I mean by balance? As they said in the first lesson, I explained the balance only in the trip it's and now I'm not going to repeat anymore. Anything about that, because you already know how to balance the triplets. Now it's time to talk about how to balance the trip. It's together with the melodies or the relationship between Trip it's and Melody. As you can see in Bar 23 we're starting with triplets only trip. It's, but that's you already know how to do. No, it comes. The second part went in in the end, at the end of Bar 20 Tree were introduced with Melanie, and what I did is this so I started Bar 23 bravely, and what I mean by bravely is just I didn't worry so much about Entity. I just made the triplets as we talked in lesson right with the last note be this office. But when the melody comes, what's extremely important eyes that I suddenly decreased overall, the whole volume of triplets. So the trip has become really something secondary until the melody comes at the end of bar 20. Tree triplets are of major importance, but once the melody comes, the triplets suddenly become secondary. Listen to that. So we start by 23 triplets, really powerful and suddenly and you can see if I had only trip, it's I would play totally different like this. But if I have a melody, that's what happens. So that's what I mean by the relationship the Bells relationship between triplets and melody. It will make the world of a difference, and that's why I'm going to show you know how you can practice and achieve great balance. I'm going to show you a a few different ways. You can practice so you can develop this proper Bela's, and I'm going to start with the most simple, one writes. We will always start with something that's easy to do, and then we'll go a little further and try to do some more advanced kind of exercises. So the first exercise is very, very simple and easy for almost everyone to do. What we're going to do is this. I'm going to start in Bar 23 I'm going to play only the left hands and Onley DM led only the octaves of the right and let me show you how we start. And then we go directed to the melody. I pay the book Death, the lady Next talk and I keep Hold the tube. It's then that's 25. As you can see, only the office. That's how I want you to start practicing at the first stage. Like the easiest way you can practice these balance now, of course, you might wonder. Hey, but what do I do with the rest of the notes? Don't be impatient. It step by step process. My students in, generally in our students in general are always very impatient to play really great, but there are no shortcuts. It's, and what I'm showing you is extremely useful in extremely important. And let me tell you why you might not be playing the triplets. But that doesn't matter, because what you're doing is you're teaching your years in your hands. What's the most important? And believe me when your head, when you're years, remember, was the most important. You automatically try to play the triplets softer, so we're just three during your conscious attention. If you're wondering how to do Bar 28 later, let me just show you a little a little preview How you can do that When you reach Bar 28 you can simply do the melody like this on. Make sure that you do it with the right with the proper fingering with the fingering your plane. Make sure that you do the exercise with the same one. That's very important. If you don't know what you're fingering is, please make sure that you write it down in the score, and then everything becomes easier. Every exercise that we give you in our lessons, it's extremely important to be done with proper fingering, not a random one 6. Moonlight Sonata Lesson 2, Part 2: now after, If you easier with and you understand the relationship between the base in the melody, right, you get them. They're the most important, and you feel comfortable with that. It's timeto the additional notes, but instead of having them in the proper way as it is written, we were going toe ed them as courts. So what I'm going to do is I play all the triplets instead of trip its I'm going to form them as cords because that would be much easier to do softer to do it a second. So what we're going to do is this very soft and then on. And then the second court. It's important to be extremely soft then, okay and insult. That's very important. Now there's one little detail you might wonder. Hey, but when I play in Part 23 the court, I have the other notes. Don't they have to be soft right? The F sharp and the A, which are part of the court but generally have to be very so I wouldn't worry about Every exercise has its own purpose. So even if the court, even if you cannot balance the court completely, but you play everything quite powerful. That's OK because you're still educating yourself how to play the rest of the courts. How to play this on. Then Inbar, 24. How to pray the second in the third chord and then in Bar 25. How to play thescore, right? So we just want to develop the instinct that every time there is a melody and a triplet or accord after that that you played very gentle. That's Oh, so you don't have to worry about how soft or not soft you play the notes when they come with a melody. Just one thing to add to that. Take care with this exercise that when the cord is together with the melody that you don't play the melody first and then the cord, so make sure you really play them At the same time. A lot of my students, when they're trying to balance it, kind of comes out as an hour page. Oh, so that is something to look out for you. I just just get the melody on the court together. Of course. Don't try. Don't break the whole. The whole point is that you play everything together Now, after we got only the melody in the base and then we got the cords. Now it's time to go a level a step higher and that will be the final step. Before we try and see what kind of results we go and that will be like this. We start playing everything normally like this and stop why we're going to stop every time a melody appears. So we're going to do this and then we make sure that the rest of the notes are solved and then we continue strong because as the melody smooth, stop So and then you make sure that the rest he stopped, right. So now the exercise goes to the next level, which means that we're playing everything normally. But we introduce stops every time we get the octave with the melody in the right hand. Why do we take this stop? Because simply without the stop, you might not play a soft is necessary. The inner notes, right. So the stop insures us to prepare and produced a soft sound as we want. That's the most important. That's how. Also, with picks step the exercise number two, which I gave you with the cords there. We didn't concern ourselves so much with the inner notes. We just played a court. But now we play in part 24 December 24. Now we play the way stop and we play the rest very softly. That'll teach us, additionally, how to play the melody and immediate, after that transfer to a different kind of sound. We do this, which stops him, please. Most of our students also, what we've seen a lot done is they do one or two och taps with stops. Ln the stops become short, the shot, the shot and then stops disappear, and then your results also disappear. So make sure that you do the whole piece patiently. And if you don't have the patience for the Hopis divided in sections like in Our Lessons, Page one, page two, page three every day, a different page. But do it with stops, one more detail that might help you out a bit. Balance, I think, is also about distributing your weight. In this case, there are two different voices in only one hand, which means that the weight of your hands you won't distributed equally, so you'll put more pressure on one side of the hand, then on the other, so that I felt found that that really helped me out. Just the idea, knowing that I have to put more weight and pressure in this case on the side where your pinky is. Because your pinky has amenity often in your fourth fingers on this side of your hand, you'll often find that you have more way to more pressure. And on this side of the hand thumb second and third finger in which you play the trip, you'll find that you have less pressure and less weight. So that kind of will help you out the idea of how to distribute that way. And, of course, with all those exercises, we strongly advise that you have a teacher as well, because a teacher can observe very carefully if you're doing things properly. And so to sum up, we start on Lee with melody and left way. Go with cords on, and then we go with stops after each octave. Uh, it's it. So we stop after every octopus, make sure that you follow these three steps, and I would advise you to start from step one unless you're much more advanced than, of course, Feel free to start in step number two or step number three. But be patient and use your wonderful results. If you are just starting out balancing the voices, please remember that this is a long term goal. Balancing voices is not done overnight. It should be practiced patiently. And don't worry, the results will come. So even though we've discussed or Dimitar has discussed this idea in the second part, of course this is already salad from the very first part. Um, it's just really good to do it this step after you've practiced the triplets. But feel free now to go with this idea back to part one again. As you see we do start with the Triplets in Bar One and then in Bar five. The melody comes just like we've discussed now in Bar 23. Absolutely few free and absolutely few. Frito, apply our ideas in the whole piece where we have to divide our course and organize it, of course, in different parts. Otherwise, our courses will be hours and days long, so the ideas we share with you in part one can be applied in the rest of the peace and ideas we share in part to Kambia also in the rest of the peace. So just dawned. Don't practice on Lee. The second part of this ideas feel free to go everywhere. And if you remember, even in the future pieces you're playing. So this was my idea and my suggestion for today in the second part of the peace and now we'll hear various 7. Moonlight Sonata Lesson 2, Part 3: today, I'm going to talk about Bar 37 in which is a melody that's often overlooked by students. And I think the reason that it's often overlooked is because it follows after what I consider to be the most difficult part of this whole piece, which starts in Bar 32 onto a bar 37. So coming from this difficult part would be quite busy with the notes and not so alert. Um, as well as seeing the melody requires some musical knowledge and especially knowledge of how to read. I'll show you what I mean embarked 37 the last triple it the first note. The C Sharp has two stents, the one pointing upwards to indicate it is a part of the treatment. But it has also one pointing downward to indicate it is also serving its purpose as 1/4 note. But that's how you can spot that this notice actually melody note. As you see in the next bar, we have a similar note with two stems. The first note of the first trip, it in bars 38 is a B sharp on. It has to stems as well, one pointing up where to indicate again. It has its function as that part of the trip it's and one pointing downward, which is actually 1/2 note, which in the case, of course, that you have to hold it longer. Okay, well, Demeter will demonstrate this now. Yes, so those were the melody notes that needs to be balanced and need to be. First of all, seen. You need to see them first, and then you need to play them a little bit louder to indicate that this is the melody. So the first step is See the melody notes. So if it's still a little bit difficult for you to see them even though I pointed them out , feel free to circle them. You know, that really helps, um, kind of to distinguish them from all the other notes. And like I said, it is about knowledge of how to read the score. There's a lot of information on the score, and a lot of times there is very valuable information lost because it's simply too overwhelming. So feel free to circle these notes so that you can distinguish them a bit easier. So that's step one. To find the melody, notes now Step two. How to start practicing them? I would advice that for the first step in in this practice, I would have finds that you make an extreme dynamic difference. So I would say Play them as loud as possible, even if it sounds ugly so that you teach your hands that this notes are more importance. So that would sound something like this. No bar 39 etcetera. So even though it sounds ugly, you do get a very good exercise in making a difference. So if you try immediately to make it very beautiful, making a subtle difference is much more difficult than making actual difference. So the first step would be make a big difference in sound. That's already tricky enough. So make a big difference. Make it as biggest possible to it for several days until you really have the feeling this becomes really easy to do as soon as it's easy to do. Then go to the second step and try to really control and think about what sound do you want ? What kind of dynamic do you want? Do you want to mezzo four Tha Which one is more important? In other words, you can make a bit more subtle. That would sound something like What do you mean are already played? But it would sound something like Do it to arts, your own tastes. Of course, an experiment with this That's it for my idea. It's about the melody that's often overlooked following the difficult bars of Beginning in 32 and amenity that's often overlooked Empire 378 and nine and 40 perhaps what you can do it's like the the exercise I shared with you earlier, with stops that can ensure that your notes after the melody are softer. Like If I If I take it at the end of Bar 37 right when you come to this c sharp, you can stop a little and make sure that you continue soft on stop and then you continue salt etcetera because stops usually ensured. That can really change your sound afterwards. And there's one more thing to add, just in case, because I've just told you about the double function that they have, make sure that you actually hold them as is indicated. The quarter. Note. The first quarter note in bars. 37. The C sharp you would have to hold as you're seeing my thumb holding it while you're playing this tributes, as well as the be, sharpen the next bar during all those triplets for two beats. So make sure that you actually do that is because this is all connected with reading the score properly. So that's that's why we advise every every one of our students to be very precise and its consciousness possible. You want to develop your conscious kind of, um, state conscious kind of thinking as much as possible, because then you become better. You read scores better, you practice better, and he just do over everything better with piano playing. It also makes the music a lot more fun. As you see, if you didn't read, precisely, you could have just had a melody that escaped your notice completely. But this melody makes the music so much more interesting and feel free. Really tow experiment. When you encounter such a such interesting things, few free to experiment. Don't be afraid to do something wrong, because what's wrong anyway, right? Experiment and explore how much how much can get done. What, what can get out of the interesting things you know this in the score. Okay, well, so today it was mostly about balancing. And I think in this worst movement of the Moonlight Sonata by Beethoven, we have the majority of what's What's important is actually balance. That's what makes this home movement sound fantastic. And it's it's really in general in such a way that it sounds beautiful anyway, whatever you do. But if you really want to bring it, um, to the next level, If you really want to make it sound like something extremely special, then we would advise you to use those ideas, and you will see how much more interesting you're going to play and how much more funny we're going to have with peace. I think this movement eyes written in many layers, and it's just so beautiful. And it's very common, actually in more complex pieces to have many layers. And I think this is a great piece to start learning this way of balancing and looking at the music again. Don't forget to download the digital score we've provided you with, because you can really, for everything, much easier. And if you have your own score, that's also find, Of course, it doesn't matter which one used as long as the bars. The bar numbers match they most of time. They match, but just make sure to check. If you decide to use your own score, make sure that you check that the bars are the same. Then it doesn't matter what you're what you're using, as long as you can follow easily. Now the important thing as usual place. Feel free and send us Commons questions requests because that's extremely important for us . It's extremely important to hear what you need help with because then we can collect all your questions, all your requests and we can make really additional and more products that are even more and more relevant to you. Well, great. We were very happy to record this video for you and will be very happy to hear back from you. And now this was over. Today we'll see you in the third and last part off our course on the Moonlight Sonata by Beethoven. Don't forget also to check our course on the fuel. Elizabeth Beethoven. It's also available. See you in the next lesson. 8. Moonlight Sonata Lesson 3, Part 1: welcome everyone to the last part of our course where the Dimitrov Blais Piana door and we're very happy to present you with our last lesson of the Moonlight Sonata first movement by Beethoven. So far, we've covered everything on to Bar 42. We've presented you with some nice ideas, and today is the time for our last lesson from bar 42 until the end of the first movement. I'd like to start with idea. That's extremely interesting to me from a technical point of view, but as well as musical point of view. And that will be from BAR 60. If you look at the left and we have this on a few Bar 65 we have this dotted eighth note with the 16th note in the left hand. That's an extremely interesting and special place for me. The reason I chose to talk about these particular bars is because, like I said, because of the dotted egg note and most importantly, because they hear many people making the mistake toe actually play this left hand like a triplet or slow down extremely much the 16th notes. So, for example, what would be really wrong to do is this. I'm going to play from Bar 60. Way had the triplets. Uh, so that's one of the mistakes. A very obvious one. And I believe it is extremely wrong because, of course, that's not what's written by Beethoven. The second mistake I hear is this one not playing left and, like a trip it but slowing it down like this, huh? As you can see, I'm for long. The left hands on. That is also not what supposed to be. It's actually very, very simple. If you look at the score, it's clearly indicated by bank holding that we have to play a daughter note with 1/16 note . So there is no space for different interpretations. There is no space, let alone There's no space for playing these left hand like a triplet. That's the first thing. The second reason why this place is so important to me. It's a musical reason, and that's much more interesting because if you look throughout the whole piece, we're having this rhythm, this particular item doll it eg naled with 60 note in the right hand, and now I'm going. Since we're in the last third part, I'm going to point out to you the places where we have this in the right hand. So it's very obvious if you start in Bar 42 were already having this same rhythm like this , then again and now left hands throughout the whole piece. We're basically having octaves or course right. And now, for the first time in Bar 60 we have the same as the right hand. And musically, that's extremely interesting. So first I thought, actually, wouldn't it be logical to prolong the 16th note and make it more dramatic? But later, when I was practicing the peace and I was thinking about this idea, I thought exactly the opposite. Actually, what makes this really special is the dramatic schism in the left and for the first time, and where, exactly at the end of the piece we're getting this rhythm, and what I imagined tried away was this dramatic destiny like feeling, you know, like everything is over. Everything is finishing, and we have all these beautiful special places. Throughout the Hopis. There is space for a romantic feeling for dramatic feeling, for taking time and making beautiful things. But the last few bars, everything is said the most important things, Air said. And it comes toe amend. The peace comes to an end. So why I thought prolonging this wouldn't fit is because I thought we need exactly the opposite character. We need the character off ending of destiny, like ending. So instead of prolonging, everything is over. There is no coming back, right? We're fishing the seas. Oh, and when you get this eight dotted note with 60 note without any delay, you get really this feeling that of the heart beat that is just there. And that is just ending, and there is nothing you can do about it. So it's a very musical, beautifully interesting idea. I think the reason that most people do for a long it or played like a tribute is because, obviously, the same rhythm it's written in a different hand. And when it was written in the right hand, you could very clearly see, even if you don't understand the dotted note rhythm, you can actually just read it because the 16 notice actually written after the trip. It very clearly because you have it in the right hand, you have it in one hand. It's very clear so even without any understanding of the rhythm, you would play it automatically. Correct. But once it comes to the left hand, it's not so clear anymore. Is not very clear that it's actually coming after the triplet. And that, I think, is where most people don't even realize maybe it's the same rhythm or play it differently. So I think it's, Ah, lack of understanding of the actual rhythm. Yes, exactly so like, Like I said, there's a technical reason. And there is a musical reason. The musical reason, of course, is a matter of interpretation. You might not even agree with what I'm saying, right? I'm just presenting a very interesting idea how I view the piece musically. But I'm going to come back now to the practical side of things because I think that's very , very important for you to in order to improve, you might get inspired from musical ideas, but it's always very important to know technically why that happens and how we can solve the problem. So few Frito use this idea and never take time there and make it destiny like sounding. Now we're going to go to the practical side of things So the first reason is that we miss, read what's written in the letter like a Lear said. We're having it written in the right hand. But suddenly, when it comes in the left, sorry within. Total difference. So first for you have to look. The Beethoven wrote a daughter eight note with a 62nd reason I was a musical one. I believe it should sound like destiny, like something inevitable and something inevitable You don't take time is just inevitable. The 60 note happens and that it the third reason is your left hand being not ready for what's coming after the 16th. Note that something very practical and I want to stress it out really a lot. What I mean is this. We're having bar 60 on. As you can see after the 16th note, the left and the fifth finger has to change from C Sharp to B shot. Then after that, it has to go back to see Shar Inbar, 62 what's even more difficult is in Bar 63. We have to go to a new doctor. That's what makes people may this with prolonging because they need time to prepare and Now I'm going to show you a few ways. You can actually fix this problem and plate really correctly. Usually when we have this rhythm in the right hands in Bar 42 after the 16th note, we have to play the same note. We have to play the same octave. Actually, we have to do almost nothing. In Bar 43 we have the same Asi can see the right hand is doing. There is no movement, which makes things much easier. But in Bar 60 61 62 etcetera, we have to constantly change notes in the letter. That's what makes it extra difficult. 9. Moonlight Sonata Lesson 3, Part 2: We're going to start with the first exercise for today about this daughter. Take note with the 60 note. We're going to go and practice these with a matter. No. So what I'm going to do is, as you know, already in this group, this particular group daughter, that note with a 16 note, we have 4 16 notes inside. So what I'm going to do is something very simple. I'm going to put the matter no, a little bit on the fast side so I can get this four notes and what I have to do is basically play together with the Metro. The metro, um, will represent for 16 notes in that group. Let me show you don't know. We have these our 60 notes. 123412 And I'm going to show you how I'm going to practice this left like this don't. So that's the exercise I want you to do. It's a little bit on the slow side, but when you practice this with the Metrodome, you have to start slow. Not every person is capable of putting the metal extremely fast and doing it very, very fast, Right? So some people need really slow. I offer this to some of my students, and they weren't able to follow the Metrodome fast. For example, if I put the Metrodome on my app, usually normal matter knowns. They cannot go that fast. But if you use a nap, they can go extremely fast. So that's very useful for me. But not every not not all of my students can actually do that. For example, I would practice this so fast. This is like 285 from the Metrodome. Want two people wanted people wanted? And then what happens to this? Like I said, not every person can follow this. So what I do with my students went with my piano students is I basically dropped down the Metrodome toe a temple that they can fall, so feel free. You can do it as slow as it's necessary. The purpose of this exercise is to understand that you have four note 4 16 notes within this little daughter. Eighth note with a 69. That's what you have to do so you don't make it a triplet, that's all. Yeah, I think that this exercises very useful, even if it's very slow because the whole point is to think in four in a piece where you've been thinking until now for 60 bars, give or take in three. So I think the exercise doesn't matter how slow you do it. The principle that you think in four is already going to help you improve this rhythm. Yes, throughout the Hopis we're having triplets. So we're thinking three notes, three noes. Do know suddenly this air to notes. But they represent 4 60 notes inside. That's what makes the big difference. Now we're coming to the second exercise. As you can remember, what I mentioned up earlier is that from bar 60 our finger fifth finger needs to change. The base note is changing all the time. We're starting with Seasia going toe Bhatia going toe, see sharp going toe. That's what makes it really difficult because, like I said in the right hand, we're having all the same once we play our a knocked up after that, in the next bar comes the same octave, so the right and has to do almost nothing. So our exercise now will be focused on this. We have toe exercise being ready with the different note in the following bar after the daughter signaled with $16. How are we going to do that? It's really easy. Actually you can do. It s slow is unique. You can do it with match alone if you're more advanced. And if you're not more advanced. If you're a beginner, you have to do it without a metro and not worry about anything else but preparing your finger. And what I mean by that is this. So I'm starting in bar 60. Then once I start playing the daughter eight, note my fourth finger. As you can see from the upper camera, you can see that my finger will be ready immediately to play the big shop. So I'm doing this. And then once I start playing, I'm ready to play this into what I'm playing. Then when Inbar 61 I come again to the dotted note, I'm ready to play consciously the C sharp. Now the most important thing is coming. Dick Doctor, Once it play in bar 62 the daughter take note. Look what my hand does. I'm ready. My fifth finger immediately went to the G shark and was ready to play. So to sum up. What you have to do is every time you press the daughter, take note your finger, your fourth or fifth finger, depending on where you have to play in the next bar has to be ready Once you play the daughter. Take note. Your finger has to be ready for the next bar. So this is all about anticipation about looking ahead. So it's not only attacked technical aspect of putting your finger on the right key, but it's also like the mental aspect of being able to think ahead of where you're going to go now. Sometimes when my students aren't used to this, when they whenever they prepare a finger on the key, they directly play it. So the putting the finger on a key without playing is actually a bit difficult. But so if you're in that stage, if you're preparing your finger but you're already playing it, don't worry. Just repeated a couple of times over the next coming days, and you will naturally be able to prepare your finger without playing. Yes, because the alternative is actually not being ready. So what? What happens with many, many people I see is there playing again. I'll start in Bar 60. They're playing and their finger is not ready for the next bar. Their fifth fingers. No training for this. No. So they're playing and then they look for the next note, and that's where the slowing down comes. So the slowing down doesn't always come because somebody misreads and doesn't know that this is a maze note with a 16. No, some people do, but some people really read it correctly, but technically they don't know that their finger needs to be ready and where the finger needs to be ready. The most important place where the finger needs to be. Readies Bar 63 were getting knocked out. That's a big stretch for the hand from this to this. So in 63 65 the hand truly needs to be ready on time to play that part there. So that's why this exercise is very, very important. Do It s low as you need. Do it. Even without the Metrodome, you can count very relaxed. The most important is that you teach the hands to move. You see my fingers ready, and then, especially in Bar 62 63. My finger stretches and I'm ready to play fifth finger the G sharp. That's what you need to get usedto and maybe one little tip. If you are capable, I would advise that you learn this left hand by heart. So from bar 60 until the last time you have it, Empire 66 I would advise learning it by heart because in that way the anticipation is a lot easier because you don't have to spend your time reading, especially since they are very low notes and can be a little bit difficult to read. Yeah, this is a great advice. If you can learn these by heart, if that's not too difficult for you, any fuel. If it comes easy to you, just do it. Just do it because he toe really solve a lot off your problems and the last and perhaps the most advanced exercise I'm going to give you these days, we're going to take the groups off, daughter. Take note. Just this last four beat of the peace. We're going to take this in bar 60 on. We're going to practice like this. Then we set take Bar 61 the last beat uh, way. Take bar 62. The last beat you can see. I'm stopping every time on the first beat of the next bar. Then if I'm practicing, if I'm taking Bar 63 it will sound like this. Then again, 65 then bar 65 beat. I stopped in bar 66. So this exercise is a little bit more advanced. You have to combine everything together and why I'm separating it while I'm doing only two beats. What I'm doing, actually one V to the last beat plus the first note of the next bar is that I want to hear the 16th note coming on time. That'll so I want to get without any problems. And it's much easier to do things when you cut them into small chunks. That's the reason I'm offering this exercise, because when you do, the less you know, the easier it is to do so you don't have to try to do immediately from bar 60 and to bar 66 everything. No, we start very in very simple steps, and now we're doing only this little groups. So feel free to start every time at the end of the bar and stop on the first note of the following bar 10. Moonlight Sonata Lesson 3, Part 3: I like this exercise also because it's actually a great exercise for your right hand as well, because you have to look very carefully because you're starting in the last beat of the bar . You have to look very carefully actually, what the right hand is doing at the moment, and you might be in the middle of Iran, which makes it more difficult to play the right hand. And in this way you're exercising its very, very well, yes, and the please don't skip steps. Don't keep practicing only the left hand alone like I showed you and go immediately to Balkans together. Because then it's no wonder if if your passage doesn't work. If the daughter eight note with a 16 0 doesn't work, Don't skip steps. Take it step by step unless you're very advanced. Few free. Of course, To start with our last suggestion, those were my two different exercises. The three different suggestions for today how to practice this particular sport. I'm very curious what you think about it, and as usual, I'm very open as well. L. Vera is very open for questions. Were questions about this place any other place in the first movement and any other pieces . Now we're going to move toe veers ideas for today. Today I want to talk about the difficult passage starting in Bar 62 that the right hand has . So what makes the best it's very difficult is the large interval. So the right hand, all the peace has bean shifting. Very, very small, shifts writes. It's been staying mainly very close to each other to trip. It's also it's been repeating as we see. For example, in Bar 43 you see repeated triplets, so we're starting on the D sharp and we're again on the G sharp on again. Is there a lot of repetition there? So what makes our 62 more difficult is that the triplets don't repeat, but they travel upwards and they travel upwards in quite large distances. So that is what is the difficulty off this passage. So you have this difficult bar passage starting in Bart 62 the problem with a lot of students is that they actually make their life much more difficult Now. They do this for two reasons. The first is when you see such a passage, or anyway, when you see a piece for the first time. The very first thing you have to do is fingering, and generally fingering is just essential to piano playing. But I would say that it makes even more difference in a difficult passage. It would make the difference between constantly making wrong notes or being actually able to play the passage. A good fingering will make you able to play S. So that is the main mistake. Students make no any fingering. This is also a little bit because of the large distance between the notes. They really see students really see it as separate notes, but they're still these groups of three triplets. There's still these four groups, so that makes them also less inclined to write a fingering cause. They're kind of looking at each note separate. And the second very important thing, which makes students life much more difficult, is that they often approach it with a non league Otto approach. And the reason for this is that students do this is that the distance is very large normally, Gatto approach, and this will actually lessen your contact with the keyboard and make you much more inclined to play wrong notes so these two things, I would say, make this passage much more difficult than it's necessary. Yes, it's a difficult passage, but with the right way of breakfast, you'll conquer it in no time. Plus, it's extremely important to learn from the very beginning of your piano learning piano playing. It is very important to learn how to play leg. Otto, I got mostly the peace were playing. Llegado is extremely important because that's what makes music sound very beautiful and very much connected. So what are very saying is extremely important. And we would advise you whatever pieces you're playing toe always observe your fingering and your they gotta play. Okay, so now you know what to watch out for. So first of all, don't play this passage. Don't start practicing it without having a good fingering. And we've provided one for you in the score. So if you can't think of when you're still feel free to use ours And secondly, don't play this in a normally got away. Make sure that you play this like cattle. Now I'll help you out by giving you a few exercises that you can try. So the first step would be simply to either write your own fingering if you want to develop that, and you're very confident about it in a very slow temple trying to get comfortable and try to immediately playlet gateau, uh, Or if you don't want to write your own fingering breakfast, this passage right hand only with our proposed fingering very slow kind of get the hang of the fingering that would be the first. Repeat that as many times as you need to feel comfortable with the fingering. And then let's move on to step number two. Step Number two is very, very important. See, Step number two is practicing without pedal, and practicing without pedal is necessary for a number of things. Sometimes students are so busy with adults that they're not even realizing they playing on legato. Playing without pedal Practicing without pedal ensures that you'll hear very clearly that you're playing without leg auto, for example. I'll show it to you. I'll demonstrate with fellow. If I'm playing non league Otto, it's more difficult to hear if I'm very busy and I put the pedal and I'm not paying so much attention to what my fingers feel like. I wouldn't be able to hear very well if I'm playing league Otto. I would think that I'm playing Nagato while you saw my fingers. I'm not actually playing the Kanto. If I do the same thing without metal, however, I'll immediately notice because it sounds like this. And that sounds not at all how the passage is supposed to be. Yes, and I think that also practicing without pedal is generally extremely important. You have toe. That's why it's very important to have a good teacher because they can tell you when you can use panel and how much pedal you can use because you can drown everything into pedal and you actually are no developing proper piano skills. And you cannot hear actually what kind of piano skills you're having. Very, very famous pianists as well. They practice constantly without pedal. Can you imagine? It's always it's always necessary. It's always so useful toe have good finger. I personally like to practice all my new pieces without pedal on. Lee wants to The peace starts being quite advanced and developed already, my passages air working out on Lee. Then I actually add pedal. I love this stick, by the way, because because that means that when you start a piece from scratch, you don't allow and any pedal, don't you? You're 100% sure of your fingering of your articulation, of everything of the Lord's your plane and only when you can play everything without any problem. Then you start adding pedal just for beauty and for kind of sonority of the sound. In this way, not only do you have and actually stimulate proper finger technique, you also add pedal consciously and you know, you decide Where do you want to peddle without just mindlessly putting the pedal down and playing? Yeah, yeah, because better is usually done for a reason. It's not just just to make the peace sound more beautiful. Yes, it is to make the peace sound more beautiful, but it's always for a particular reason. Okay, so step two is Brexit without pedal, and make sure to combine it with step one. Make sure that you're still using the proper fingering and make sure that you are playing leg Otto so the pedal practicing without pedal helps you develop your leg. Otto Finger technique being able to play passages with a leg. Otto, I would like to add something about the fingering. By the way, I very often when I teach my students what I what I see. It's really a pity they really want to play the piece. Well, it's not just about this passage, but imagine any kind of passage that a good fingering is required in this particular passage. Everyone who plays this piece knows that without deciding good fingering, it's kind of a jumble you don't know, and I see my students playing for me. And every time it comes that they play different notes with random fingering every time it's another finger and the passage is always a mess. It never works well, and the danger of that is that if you don't start from the very beginning with a proper fingering like Vera suggested, what happens is the fertile er, the further along you go with the peace. After weeks or months, you're very unlikely to fix your fingering, so it remains with a jumbled fingering. It remains with a random fingering, and it's a shame. The earlier fix your fingering the earlier you fix problems in general, the better for you 11. Moonlight Sonata Lesson 3, Part 4: Okay. Now, once we've started practicing with the correct fingering and we've started practicing without pedal Now comes um Step number three and I would advise so the dynamics of this particular passage ride is pianissimo. But I actually would advise that you practice this in a strong, good mezzo 40 because what we want to encourage is your contact with the cable. What makes this fascist difficult is because of the large distances you tends to lose contact with the keyboard. Soon as she lose contact with keyboard, you're very likely to play wrong notes. So instead of trying to play this immediately musical right which is actually skipping a few skips steps, we first need to fix technically our passage. I would advise again, without pedal, make sure we still are without pedal and with the right fingering. We're practicing a deep meself orto and try to really feel the bottom of the key. One were plain, so I would advise a nice, strong sound and trying to feel a nice connection with the keyboard. So etcetera, obviously, I wouldn't be If I was playing this piece, I wouldn't be playing every note so deep. And so the same mezzo forte because there's also written a crescendo in a day Christian. Because the trip it's travel upwards right, they become more important and they travelled downwards again and become lesson. So obviously I wouldn't be playing them like this. But it's a great exercise to really get into the keyboard to get the contact with the key word and to make sure that you don't play any wrong notes to really get, get the right notes. And my last and fourth exercise is something that you can use for difficult passages in general. Not only this one. The idea is that you start with one or two notes or with the first group, and then you keep adding notes. So what I see very often with my students, as I was mentioning before, is that because the triplets are so far apart in distance, they play them as separate notes. But really, they are these groups, and the more you see them as groups, actually, the more logical they are to you and the faster you'll learn them. I would like to start with the first group already because I'm already familiar with the peace, but you can also start with the first note and do the same thing. So my idea is, and again, without pedal, make sure that you're still without pedal. My idea is that you simply add one note at a time. I'll show you. I'm going to start with the first group again. Like I said, I'm a little bit more familiar. So we're starting with the first group and we're adding the first note of the second. So we're playing, and I would repeat that a couple of times. So now this becomes, like one group in your head. This becomes connected. They don't become separate notes, but they're actually connected. So repeat that a couple of times until you really feel that. That's one thing. One sentence, right, because the whole sentence going up and down. He's actually one sentence, and then I would add the second note of the second group. So that means the E make sure to use the correct fingering. Obviously, I'm finishing on the one now, But not only that. Make sure to prepare already for the next Uh, no, that's coming because I know we're going up. If you did see my hands started opening because I know I need to stretch. And that is very connection to what we're talking about with Dimitar's idea about the anticipation, preparing the fingers but not playing them yet trying to think already ahead to the next one and repeat that a couple of times. And then we add the last note of that group and so on. But this is something that I like to do with difficult passages, because you kind of connect them and you make it, Ah, a nice bite herbal science for you to remember. The whole passage like that can be pretty overwhelming. But if you break it down in groups and you add them one by one, it actually becomes much more digestible and much more easy and quick to learn. And what what I would like to add is that usually the more patients you have and the more calm you are in your practice and organized, the better results you have. What what we're seeing very often with our students is that they would try the suggestion they would try the exercise, and after the third or fourth note, they would just add everything else So they're losing patients they want fast results and a D, and it turns out that they're getting slower results. So our advice is always have patients, enjoy your practice and also organize your practice. Have a system do one day, one thing another day. Another thing. So you're never bored, so it's always interesting to you, and then you will get really wonderful results. Well, I guess this was all for our third and last lesson with the Moonlight Sonata by Beethoven. For us, it was on extreme pleasure to create this course. We really enjoy the Lord sharing our knowledge, our ideas as well as our experiences, piano teachers and I'd repeat myself again and again, please. Few very free. And don't be shy to let us know about any any questions you have with this piece with any other piece you're playing or pieces you won't play in the future. We're very open for suggestions and for requests and for questions, because we want to create more and more products in the future, and we want them to be really connected. Also more on a personal level with you. Make sure to follow us because we're creating already at the moment future courses, so make sure to follow us. So you don't miss any interesting cars that comes out. Enjoy practicing our ideas. This was the Metro Bull. A piano door, and we will see you in our next course.