Well here we are at the conclusion of this little exercise – the opening bars of Beethoven’s Moonlight Sonata, posted here to test the efficacy of the SOKOZY piano playing method (the notes of any particular tune portrayed in chronological sequence directly onto the piano keyboard. ) In this way, there is an immediate appreciation of the tune,
The triplet movement of the opening four bars is resolved here by the tune homing in to the C sharp minor chord, 111, 123, the three ‘1’s on the far left being played with the little finger, index finger and thumb of the left hand, joined by the ‘1’ furthest right, played with the thumb of the right hand. I think that if anyone can sit at a piano and play these five bars then one is likely to draw a small crowd in the expectancy of a full rendition of the tune. That’s when you get up from the stool and say you are in a terrible hurry and you need to be on your way. That is exactly what I did yesterday on a public piano at Herne Hill Railway Station, South London , though I did offer a jazzy version of “Blue Moon” before catching my train.
The Royalist has earlier mentioned the velocity of striking the notes, finding the left hand notes more dominant. It is possible that effect is brought about simply by the left hand playing in octaves (the top and bottom notes of the scale). But “touch” is indeed the most important part of a pianist’s box of tricks. On a decent piano a sensitive touch can be likened to gently pressing a grape – ha ha I’ve only put that bit in for Janus!
I do hope those of you who have attempted to play this exercise have had some sense of accomplishment as well as enjoyment!