Beethoven's Moonlight Sonata Course: Movement Three

Hello everyone! Welcome back to Beethoven's Moonlight Sonata course, a set of courses.

Overview of Movement Three

We are continuing with movement three. We've talked about many aspects of this great movement, including:

• How to practice
• How to musically understand it

This movement is a sonata form movement, by the way, which is usually attributed to the first movement. However, in this Moonlight Sonata, everything is different.

Structure of the Movement

• Slow Movement: We start with a slow movement.
• Second Movement: The second movement is not slow; it's a minuet, a dance-like movement.
• Sonata Form: Then we have a sonata form here, basically ABA form with an incredible chord.

Special Focus: Written Out Arpeggios

This time, I'd like to talk to you about the incredible written out arpeggios found in bars 163 through 166.

• Be Free: Don't play them exactly as written. These are essentially arpeggios, so be free and rhapsodic. Think of this as a written-out cadenza, if you like.
• Improvise: This is really where you can let your imagination fly and improvise.
• Tempo Variation: If you are more free in bars 163 and 164, you could be more strict in the next two bars, or vice versa.

Transition to Precision

After this, there is incredibly accurate and precise rhythm. Here, Beethoven brings it back in the form of an engine speed, forte piano sforzanti in F sharp minor.

• Enjoy the Sound: Let the piano sound, enjoy it! You can keep holding, but maybe change the pedal to get those beautiful tones up here.

The Coda Begins

This is where the coda begins with our second subject actually in the left hand (Alberti Bass), while the right hand changes.

• Turning Point: This is not like what we've heard before, especially if you've done the repeat. Beethoven continues, searching, this is really a free bit.
• Don't Maintain Tempo: You should not maintain the tempo at all costs.

Exploring the Instrument

Next, we have more of those incredibly free arpeggios in F sharp minor, as if you're really trying out your beautiful instrument, exploring.

• Neapolitan Chord: After that, we encounter the Neapolitan chord with a chromatic progression. You can see in Beethoven's writing that this chromatic scale is not evenly written out.
• Speed Variation: Notice how in the second bar it increases in speed, as if he's revisiting this chord.

Adagio Section

Now, what is very important here is the Adagio section, two bars of adagio.

• The whole movement is in presto agitato (fast and agitated), and now we have adagio. This tempo indication relates back to the first movement.

Reminiscing

It would be great to obey that and keep these two bars (2, 3, 4) in the same tempo as the first movement. This is Beethoven's way of reminiscencing what happened earlier.

Final Coda

We then have a brief coda, which is in Tempo 1. Again, we have the familiar Alberti Bass in the left hand.

• Legato Style: Now, we see broken chords, but this time with slurs. It's legato, not non-legato, and sforzando on the top.
• Fortissimo Ending: Finally, we arrive at fortissimo for the last two chords, pointed, dotted, and very short.

This quick ending is a surprise, commonly used by Beethoven. You can find similar endings in the Heroica Symphony in E flat.

Conclusion

This is a wonderful ending to a great masterwork! I hope you enjoyed this course set. Remember, you can always revisit these videos, come back, and watch them at your own pace.

• Interactive Resources: You have your interactive sheet music; the score is readily available.
• Brush Up Anytime: You can brush up anytime and revisit things.

I hope you all have a great time with Beethoven and the Moonlight Sonata!