First Quarter: Piano Literature -- The Sonata

Philosophy and Rationale

The study of piano literature is an important study for a pianist, second only to the knowledge of the techniques needed to play the piano itself. It is the foundation for a pianist’s intellectual knowledge and repertoire. It is the reason we study to understand and appreciate music theory and musicology. Through exposure to literature, we gain our enthusiasm for the instrument and for the men and women who bring to us this wealth of beauty through the piano.

Through the study of piano literature we can deduce a composer’s style, both compositional and philosophical. We can find clues as to a composer’s own performance techniques at the keyboard. We can extrapolate our knowledge to include the entire body of work of a composer, and even further to understand the entire musical literature of the composer’s style period. We can find the relationship a composer had with the artistic world around him, and how the composer’s music reflects the world from which the composer came.

The basis of discussion and the drill of harmony is through the study of literature. Through literature we can apply our knowledge of theory to see how a composer put it into practice. We can review theoretical concepts and learn to recognize special uses of harmony through listening.

Finally, any reputable college level music school will require literature classes, and the knowledge we acquire here will be an excellent foundation for our students’ success in these classes in the future.

Grading Criteria:
Journal -- 150 points
Test -- 50 points
Participation and practice -- 200 points
Jury -- 200 points

The Journal

Each student will maintain a journal which will contain all class notes and individual reflections on the works we have studied. The teacher will check the students’ journals before each progress report to give feedback on potential improvement if any is needed.

To receive the full credit on the journal, the student will hand in the completed journal on time with special regard paid to neatness and organization. In addition to the classroom work contained in the journal, the student may include additional information about the composers and the works we study. It is recommended that the student include some additional information based on individual research.

The Jury

Each student will perform in a jury adjudicated by two or three competent musicians/teachers to judge the student’s work and to recommend the student for participation in the recital. Scales in the key of the student’s presented piece will be performed along with scales in the relative major or minor keys. The three forms of the minor (natural, harmonic, and melodic) will be presented.

Students will also be asked to cite a few facts about the piece they are presenting. This can include musicological information or a short discussion of form or harmony.

The Test

At the beginning of the year, students were asked to write a short diagnostic essay test about the sonata form. This will be the format of their quarter test. It will be an essay test of approximately one page. Students will include information from class discussion and compare and contrast the first movements from the various style periods presented, and are encouraged to include knowledge gained through individual research. Any student with a grade of “C” on the test will be given the opportunity to retake the test.

Participation and Practice

The grade in this important element of the piano class reflects the student’s diligence during class and the student’s enthusiastic participation in class discussions.

SYLLABUS

UNIT: MULTI-MOVEMENT FORMS -- SONATA-ALLEGRO
Classical Conventions and Developments through Romantic Period and the 20th Century

Teaching strategies:
We will examine and analyze form in the following first movements.
We will examine and analyze harmonic points of interest, and analyze these points utilizing four-part format for study.
We will examine and analyze modulation, and present modulation in four-part format for study.
We will study and analyze technical difficulties.
We will discuss possible interpretations based on harmonic, melodic, and formal ideas.
We will discuss biographical points of interest regarding these first movements.

Weeks 3 and 4
The Classicists
Beethoven’s Waldstein Sonata, Op. 53
Mozart’s Sonata, K. 310

Week 5
The Romantics
Schumann, Sonata in G minor , Op. 22
Chopin, Sonata in b-flat minor, Op. 35

Week 6
The Twentieth Century
Prokofiev, Sonata #3 in A minor

Week 7
Unconventional Sonatas
Beethoven, Op. 101
Mozart, K. 331
Mozart, K. 545
Mozart, K. 311

Week 8
Journal preparation, review for test on sonata-allegro form
Test on sonata-allegro form

Week 9
Journal completion and preparation for recital

Back to Piano Majors