Article by Janet Hickey
remember
the first time I taught this charming "little" Beethoven
sonata to a high school transfer student. I introduced
the first theme, went through several counting routines and sent
her on her way, expecting to hear great things at her next lesson.
Here's what really happened at the next lesson-in the first measure, the half note was reduced to a quarter. The eighth notes in both mm. 3 and 4 were mutated into 16ths. I quickly discovered that this little gem is deceptively simple to look at, fairly easy to read, but chuck full of rhythmic twists.
Years later, I am once again reminded of the teaching challenges of Op. 49, #2. Last week a new eighth-grade transfer student came in for her second lesson on this sonata. At her first lesson, we had tried numerous rhythms, body movements, etc., to help her work out the main theme on her own. When she returned, she played the trill in m. 4 perfectly but the last three eighth-notes were played as quarters, along with some other surprises.
Beethoven's music is loaded with rhythmic intensity. How do we as teachers impart to our students that inner sense of pulse, the heartbeat that breathes life into a great work? (There are not too many Beethovens or gifted rhythm makers walking through the studio door).
Here's a plan for my current student in hopes that these steps may lead her to higher levels. She may not need this much drill; it's too soon to tell. I'll mainly aim to keep alive the shape and spirit of the sonata as we do the preparatory work.
I'll concentrate on a few key areas:
1. Time Signature of C -Alla breve (cut time)
The typical student benefits from first treating the 2/2 as 4/4. I have them do slow counting in 4/4-to grasp note values, rhythm changes, rests, dotted notes, trills, etc.-plus be able to use a metronome without dozing off between clicks, which can be a problem in cut-time. Even quarter = 44 can seem fast at this stage. We'll clap, tap, and count out loud before ever making contact with the keys; this seems to be the best way to grasp rhythms and ward off future problems. Unfortunately, as we all know, a great deal of time needs to be spent fixing problems later if they are not prevented in the first place.
But then as soon as possible, I like to get the feeling of 2 ingrained, because sometimes students get stuck in 4/4 as if the piece were glued together and might fall apart if you move it! Alla breve can be experienced with arm swings, conducting, a two-step dance, singing-whatever it takes to get the feeling of the meter in their bones. I tried this with my new student and will keep returning to it until she feels it in her whole body, not just her fingers. It's a great way for students to discover their own rhythmic sense.
Deliberate slow counting of "1 an 2 an" and also works for the rhythmically astute student able to bypass the 4/4 routine. It is also a very good way to make the transition from 4 to 2, once the 4/4 is secure.
2. Alternating between Triple and Duple patterns (which is a pervasive rhythm characteristic of this sonata).
Triple to Duple: The measures that begin with a half note (mm. 1, 5, 53, etc.) are related. The half note proclaims the opening of the sonata and each main section, and gives the work stability and continuity; therefore the half note must receive full value. To help do this (and not be tempted into shortchanging it due to the surrounding rhythm patterns), count each beat as a triplet-1 a la 2 a la 3 a la 4 a la 1-crossing over the bar line to beat one of the next measure (which is duple).
One way to prevent the triplets in m. 1 from corrupting the single RH eighth note in m. 3 is to think of the lone RH eighth note as being the other half of the LH beats. This works well in subsequent sections (such as m. 7) in which a single RH eighth follows LH eighth notes.
For the ties in mm. 53 and 56, whisper (or barely say) the "3" in the first note of the triplet on beat 3: 1 a la 2 a la _ a la 4 a la. Add the next measure to each of the half note measures. Strongly establish the quarter note pulse and go from the triplet to the duple with rhythm drills. Play and count 1 a la 2 a la 3 a la 4 a la 1 an 2 an 3 an 4 an 1.
Duple to Triple: We switch gears in mm. 4-5, 14-15, and many other similar places by counting 1 an 2 an 3 an 4 an 1 a la 2 a la 3 a la 4 a la. We switch back again in places like mm. 19-20. A strong pulse and counting routine can help the student to get this.
The transition between eighths and triplets at mm. 74-75 heralds a change in both rhythm and harmony. Highlighting these differences helps students rhythmically and in their memorizing.
