Sonatina in F, 1st Movement: B Section

Hello and welcome back.

I'm Joseph Hoffman, and in this lesson we're going to learn how to play the B section of "Sonatina in F, Anh. 5, No.2"

attributed to Beethoven.

Let's come to the piano to get started.

The B section begins here in measure 19. What do you notice about measures 19 and 20?

Hopefully you noticed

they're exactly the same as measures one and two! That's good news, right? But, what happens here in measure 21?

Some new material. I'd like you to pause the video and see if you can figure out measures 19 through 22

on your own, this section of four measures.

Figure it out, and then press play and we'll check it out together.

Here's what you should have gotten:

Now be sure that you hold this quarter note long enough, and one easy way to do that is with counting.

1-e-&-a 2-e-&-a, 1-e-&-a 2-e-&-a. And start that quarter rest right on beat 2.

1-e-&-a 2-e-&-a. That's where you lift.

Now let's go on to measure 23 through 26.

Once again, this looks similar, but a little different.

Can you pause and learn measures 23 through 26 on your own?

If you'd like, you can just do right hand, left hand alone, or hands together is optional.

Learn the notes, and then press play and we'll check it out together.

Now we're starting to see these E-flats in here.

We're getting a tonal shift to the key of B-flat major.

Notice all these B-flat major tonal sounds with that E-flat thrown in, it's starting to feel like we're in a new key.

Now, if that matched what you played, great. If you need a little extra time you can always pause to do a little more work.

If you're ready, let's go on and check out this next section starting in measure 27.

Notice here in measure 27 we get a very interesting interval. We start finger 3 on this D, and then E-flat, C-sharp, D. Try playing that.

Now you try.

Good, now let's keep going. We have:

then finger 1 comes to D, and then notice

this pattern. Can you tell me the interval between these two notes?

If you said a fifth, you're correct. We go up a fifth, then down a third.

Up a fifth plus down to third forms a triad,

and I'd like you to think of these first three notes as a block. Can you play this triad?

What's its name?

If you said D major, you're correct. So we start off with a D major triad, and then our finger 1 comes down to C natural,

finger 2 crosses over to B-flat.

So we have up a fifth, down a third, down a fourth, down a second.

Now you try.

Now, looking at the left hand part can you find that same pattern?

Can you find somewhere the left hand goes up a fifth, down a third, down a fourth, down a step.

Point to it.

If you're pointing here in measure 30, you're correct. Look, the left hand starts on g,

goes up a fifth, down a third, down a fourth, down a second.

Same pattern, but starting on a different note. So let's take these first three notes of the left hand, and with fingers 3 2 1,

can you play this triad?

What's the name of this triad?

If you said G minor, you're correct. So the left hand plays this G minor triad, then step down, step down. Notice it's just this chord

followed by step, step down.

Now you try.

Now, let's hear this section hands together.

And I'm going to stop on the first note of measure 31.

Notice how in measure 29 the left hand changes to a finger 4 on this last F-sharp,and that prepares for that next measure.

A good fingering prepares you for what's coming and allows you to play it beautifully and legato.

So, pause the video and work on measures 27 through the first note of measure 31, being careful of the fingerings,

all the notes and accidentals, and then press play and we'll check it out together.

Now on your own, I'd like you to pause the video and look for how many times you can find this same pattern:

up a fifth, down to third, down a fourth, down a second, in the next two lines of music.

In your own score, draw a box every time you find that pattern.

In your own music, pause to find and box all of those patterns, then press play and we'll check it out together.

Here are all the places Beethoven is using this up a fifth, down a third, down a fourth, down a step pattern,

and here it starts to occur in imitation.

It's like the hands are taking turns with this pattern.

I love how that part sounds. So,

again I think it's going ...