Moonlight Sonata – Bars 2 to 4.

Well I seem to have garnered a little interest here from cherished Charioteers and so I shall continue to demonstrate the SOKOZY piano playing method, allowing the Royalist to progress towards some musical resolution which comes in Bar no. 5 which I will post tomorrow.  (And that is where this present exercise will end unless of course further bars are requested or somebody commissions me to transcribe a favourite song.)

Bar number two is almost identical to bar 1, save the left hand (little finger and thumb) play two different notes from those notes played in bar no.1 see yesterdays post). Otherwise the principle is the same.  Remember to hold down the two left hand ‘1’s for the duration of the 123, 456, 789,10,11,12 sequence played in the right hand, as this gives pleasing harmonic resonance to the right hand part. (Are you listening, the Royalist and no metallic effects please.)

Beethoven's Moonlight Sonata - Bar no. 2
Beethoven’s Moonlight Sonata – Bar no. 2

Bar 3 develops the theme with more movement and shape in the right hand. Shortsighted viewers will need to focus well.

Beethoven's Moonlight Sonata Bar no.3
Beethoven’s Moonlight Sonata Bar no.3

In this bar, 456 is a repeat of 123 and 10, 11, 12 is a repeat of 789. Once again the two ‘1’ s on the left are played with the little finger and thumb of the left hand.  (The ‘1’ on the right hand side – underneath the A of PAPAGUINEA, is played at the same time as the two ‘1’s  in the left hand.)

NB   The two ‘7’s in the left hand are played together with the ”7′ on the right.  You are simply playing four sets of triplets, 123, 456, 789, 10,11,12. – a sequence of 12 separate notes.  As you play the sequence from ‘7’ onwards you should begin to ‘feel’ a profound shift in the ‘modulation’ that leads to resolution in bar 5.  Are you listening Janus?

Bar 4 is a real juicy bar! None of the four triplets in the right hand are the same.  Beethoven has pitched these triplets exquisitely so that there is complete resolution of this in Bar number 5.  Yes folks you will all have to wait till tomorrow when the Royalist and perhaps Feeg may pronounce judgment as to whether this exercise was accomplished or not! By way of reminder I should say that the left hand ‘1’s and ‘7’s  should be held down for the duration of 123, 456, 789, 10.11.12 played in the right hand .

Beethoven's Moonlight Sonata Bar no. 4
Beethoven’s Moonlight Sonata Bar no. 4

Betcha can’t wait for tomorrow! (I will use the comments box below to address comments made in yesterdays post. Thankyou all for your interest. )

9 thoughts on “Moonlight Sonata – Bars 2 to 4.”

  1. Howzit PapaG

    I’ll put the “page breaks” in for you as you publish in order not to block the first page. If you think I’ve put it in the wrong place let me know and I’ll change it for you.

  2. Soutie, I’m not sure I understand you. Tomorrow I can re-edit and place Bar 5 within this same post. Or were you referring to Bar 1 being joined with the others? On technical stuff I will leave it to your expertise! (I wasn’t thinking of flooding the front page with successive postings of extended bars!)

    As regards your earlier comment on numbering notes as in “When the Saints go Marching in,” that system depends on the piano notes themselves being numbered in ascending order e.g. 1 to 8 on the white notes – an octave in C major, whereas my SOKOZY method shows the order each note is pressed as displayed on a replica keyboard, either printed out or projected onto a screen using Powerpoint. The Sokozy system also allows you to pick any note on the piano, black or white, within a 4-5 octave range. With a few pointers from Feeg, I am toying with some ideas to signify time duration – how long or short a note is held down.

  3. Good evening Obi-Wan PG,

    No more deviations from me. Bars one and two digested nicely. For bar three I had to change my whole style of playing and use the right thumb! I still have a tendency to speed the opus up but I am learning to curb my natural instinct. Disastrously, I seem to have run out of space to play the left hand chord sequences. Be kind to me with my ignorance of musical terms, there are only three lots of what I think are called scales on my small organ (quiet, J-Man). My left hand is jumping right out of the book, metaphorically speaking.

    I’ve been playing bar three right hand only (who needs a left anyway?) and it’s coming along fine. Not attempted bar four yet.

  4. papaguinea :

    Soutie, I’m not sure I understand you.

    No worries Papag, you keep publishing as originally intended 🙂

    Yes, we’ve numbered the keys, remember we’re dealing with very young children here, we’ve been using the system for probably 10 years now, we haven’t produced any Liberaces but it’s all good fun

  5. theroyalist :

    Good evening Obi-Wan PG,

    I’ve been playing bar three right hand only (who needs a left anyway?) and it’s coming along fine. Not attempted bar four yet.

    TR – I understand you only have three lots of scales (octaves) to play with. Ordinarily that would be sufficient to play simple songs. May I suggest in bars 3 and 4, you play the ‘thumb’ note of the left hand if indeed it is on your radar, as this will bring out the tunefulness. I should also ask you whether the notes (on your keyboard) continue to resound when you hold the note down, as otherwise this piece will be sounding rather brittle (staccato). Bar 4 is a bit of a leap forward as none of the four triplets in the right hand are the same but it is well worth persevering with. For my part, I find I can memorise the triplet shape without having to refer to the picture – so it works for me! Resolution of this sequence (bars 1 -4) will appear in bar 5, to be published later today. Have a malt on me.

  6. Good afternoon, Obi-Wan PG,

    Bar 4 was a bit of a challenge but I’ve managed to memorise the notes after studying your numbered diagram. The tune does sound better as I can play one of the notes of the chord with my left hand and it does resound. Where I am finding it hard is trying not to hit the first numbers of the right hand with the same velocity as the first note of the left’s. Other than that, if you closed your eyes…

  7. TR – If you can distinguish weight of touch as between left and right hand fingers then you are indeed a star pupil. You have hit upon the very technique that makes for a pianist rather than a plonker! In my opinion there should be equal weight/balance across all the notes. But the real effect of this can only be appreciated properly on a decent piano. I recommend an upgrade!

    I shall post Bar 5 before mid-night. My time this afternoon (and early evening) has been spent with an old school friend in a bar not on these pages.

    Janus, I am relieved your upright is at rest.

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