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Couple Questions about Brhams Sonata in F Minor

Author: Jeff
Date: 2000-11-02 23:50

OK, right now, I am working on the First Mvt., and I was wondering what is a good meter marking for the part where it speeds up some-where 16th notes first come into the piece. Also, I was wondering about the slow sweet parts....How much, if any, vibrato can be used in these parts?

And, this is off subject, but I am working hard on improving my rhythm, because I was not blessed with a metronome in my head and have trouble subdividing and that sort of stuff...I know the theory of how it works, I just have problems when I am playing. What I was wondering was does anyone know of any ways to really get that metronome in your head, because it is driving me crazy, especially on slow pieces.

Thanks a lot,

Jeff

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RE: Couple Questions about Brhams Sonata in F Mino

Author: Allen Cole
Date: 2000-11-03 19:03

(Pardon the following diatribe on subdividing. I include it to make sure that you are taking the right approach and viewing it in the proper light.)

I suggest subdividing. (constantly thinking 1 & 2 &... or 1-e-&-a 2-e-&-a, etc.) This will be especially critical in the slow movement. Your speed will become much more constant. This is why we often say 1-Mississippi, 2-Mississippi to count passing seconds. Try to follow the second hand on a mechanical watch whose balance wheel ticks 4 times per second vs. the hand on a quartz clock that only moves once per second. Which is easier?

Subdividing is also important in the first movement because the feel constantly changes between duple (eight/sixteenth notes) and triple (triplets/sextuplets). In fact, you might find your self playing eights or 16ths while the piano is in triplets or vice versa.

Another important reason to subdivide is that players who have just been through a barrage of fast notes at a slow tempo can become confused and miscount (usually by half) the values of the next slow notes encountered. A really good example of this is the Adagio from the Mozart concerto where you might have a solid measure of 32nd notes followed by eights, quarters, halves, etc. Many students either halve or double the values of the slower notes out of confusion.

Here's a training exercise that I use with my students. We watch the second hand on the quartz wall clock and try to lock in with it. First counting quarter notes. (waiting for the next beat is like the Chinese water torture) Then we subdivide in to eights, which yields massive improvement. Finally we do sixteenths, which are downright COMFORTABLE.

Here's an exercise that should become part of your lifestyle. Count along (physically!) with every bit of music that you listen to. Tap your toe in the traditional down-up-down-up fashion or use a finger in a similar way. (definitely use the finger when listening to the car radio <g>) This helps to develop discipline and also affects the way that you perceive and remember the music. It's like including a ruler in every photo you take.

As for choosing your speed: The 16th notes and sextuplets are the most difficult are of that movement. Determine the tempo at which you can play them, and let that be the tempo of the piece. I am not aware of a lot of out-and-out speed changes in this piece. Many of the rhythms used help to generate the perception of speed changes, even if the time is metronomically perfect.

Good luck with a terrific piece of music.

Allen

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