Resolution for the Royalist (Bar 5, Moonlight Sonata).

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,

Beethoven's Moonlight Sonata, Bar no. 5.
Beethoven’s Moonlight Sonata, Bar no. 5.

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!

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5 thoughts on “Resolution for the Royalist (Bar 5, Moonlight Sonata).”

  1. Backside recalls the Stu Francis (qv) could crush a grape – presumably when trying to tickle the ivories. 🙂

  2. Janus :

    Backside recalls the Stu Francis (qv) could crush a grape – presumably when trying to tickle the ivories. :-)

    Precisely Janus – it’s all about the entertainment business!

  3. TR – looking again at my penultimate paragraph I am not sure if have understood you correctly with your reference to “velocity” as my reply is more to do with FORCE – the power used in striking each note or notes. In these exercises it is important to play each note with equal weight – as in lightly pressing single grapes. (Crushing grapes is for rock music. Amen.) .

  4. Good afternoon, Obi-Wan PG,

    May the force be with you! The velocity I was pertaining (hark at me) to was the speed of my left hand as it fell on the keys with great vengeance and furious anger thus inflicting force on the board. I have been more delicate with the right hand notes!

    For the fifth bar I can play the whole of the C sharp minor chord on my half-pint keyboard, I am delighted to tell you. This was an enjoyable experience, PG, thank you very much. I can now play this club classic at the next family get-together. In the meantime I’m off to Lloyd’s of London to insure my fingers.

    Thanks again.

  5. Nice work TR! You deserve a full pint keyboard or even 4 litres. Let me know if you’d like to master any other party pieces and I will oblige. (I’m working on devices that would signal half beats, quarter beats etc but basically if the tune is known then you’d know the timing and phrasing of the notes.) Anyway I’m very glad you had some fun with it. You are my star pupil! AND MAY THE FORCE BE WITH YOU ALWAYS.

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