Jason, if getting back to your childhood, whose series of sonatina did you most prefer to pick up again? Muzio Clementi's Op. 36, No. 5 - yes, I have chosen it with 3 paragraphs. But dear, why? why not the No.1...or others'? Yes, it was also good for a kid's heart... But, this one was my preference that I thought it was 'near kids' minds, near heaven, and angels' cries'. I had dreamed for long time to perform it and teach it, until this period... You hear: how sunny, joyful and confident, when the first paragraph was played out, as if getting back to a golden age of myself, in which Jason's world hasn't formed out and everything was new in his curious eyes... He can try to be successful with the rhythm as heart beats and notes from musicality though fails many, smiles were still hung upon his face... colourful, vivid and ... cool.Oh, dear, currently, it was one month that you will be 30. Please hear, your fingers cannot be compared with those days'... You almost get back...Did you still feel your existing, on this earth, were meaningful? Yes, I still wanted to be a sunflower facing my long journey. Though my hands were rough, my heart was true; though I had no kids, I had my learners and I was still a 'doctor' in kids' corner...; though Clementi gave a letter suggesting his sister didn't ruin her natural lightness through playing his sonata, I re-searched my own lightness from heaven through this melody; though it was exercised in very short time, I was willing to better it for future. When re-seeing this melody from my sonatinas collection, my heart was re-grasped by it and my eyes were re-brighten by landscapes near heaven... Then, I remembered it was always in the deep part of my mind-sea, and never made the departure...
2nd paragraph - Swiss Folk Evensong: boating in heavenly lake[edit | edit source]
It was the second paragraph Clementi's Op. 36 No. 5 following Jason' CO36N5I in the series. I can remember: in my manuscript, beside its title, it was written 'Swiss Folk Song'. In Jason's curious eyes of that age, imagination was mapping out, to a peaceful town-liked country under the background of a snow mountain; and a lake was there... Then, people were freely boating and enjoying their holiday time under a sunset... Jason, did you go there before? No, no, I don't want to tell lies that I have never been there... But, it was music and especially its rhythm, 'free emotion' and 'lazy actions' taught me those... as also a home harbour for a tired heart...
CO36N5III was in CO36N5 series of Muzio Clementi's sonatina: this paragraph wasn't easier for playing, and somehow can be called with some advanced techniques in several easier-broken linking parts. I think that's why some sonatas of Clementi ' are more difficult to play' (Wikipedia introduction: https://en.wikipedia.org/wiki/Muzio_Clementi) - there always are some 'hard-training' points contented in his 'easy-going' paragraphs. In my thoughts, a composer wouldn't design a melody for certain groups or collections, but must be try his or her best to present most beautiful moments in his or her ages and lives, for all. That's why some points were super-ranged (for our levels) than our thoughts. Oh, I was a little bit happy that boy Jason's hands near 30s can still hold them. However, more perfections would be wait after more trainings in future. Here, I just wanted to present more naughty tempers, smart behaviours and jumping thinking ways from a kid, in front of your musical 'eyes'... Oh, forget to say: it was a rondo. About much information, please review: (Wikipedia introduction: https://en.wikipedia.org/wiki/Rondo)
Sound Files' Collection: E minor Sonata (Collections) - Haydn[edit | edit source]
In my map of world's piano music, there were few pieces about Sir Haydn's. To be honest, I wasn't good at playing his works. Merely that grading examination needed and practical teachings for my kids required, I would turn to research some of his. But, lacks of experiences cannot block an appreciating heart of mine for beauties in his sonata form. Following this mind, a classroom draft of Haydn's sonata - e minor sonata was born here. Sorry, less training time was there, which would make you critique some 'keyboard-sliding' parts. Therefore, it was a little bit rough. But, to me, it was another beginning. You can hear the clear melodic line was singing out and further, in the middle, two hands were horizontally weaving (yes, like in counterpoint - fugue, but being applied with the classical style; in our introduction article of Haydn characteristics, it was a point in learning: https://en.wikipedia.org/wiki/Joseph_Haydn - session 'Structure and character of his music'), dialoguing (a little bit like a small quarrel), running after each other, climbing up and communicating, which motivates theme having gone to an emotional peak. It's a popularization from classroom draft what I was doing in with an educational approach. In my educational research & analysis, this piece was seriously designed and applied in Sonata form - you can hear its brief collections were all alongside the logics line: Introduction, Exposition, Development, Recapitulation and a half-opened Coda repeating the first theme sentence... (Wikipedia introduction: https://en.wikipedia.org/wiki/Sonata_form )As a result of this point, I thought it could carry more exampling functions in our classrooms. About the basic technique points from its classroom training, I thought a large part of targets have been met; but sorry, short time dedications limited them in rough. I prefer a new edition after modifications would come soon with more expressive and enriched emotion elements participant-observing Sir Haydn's life. What's more? I think Sonata Thinking Way, in education, was a good problem-solving methodology. As a teacher and learner, I hope kids and young people would enjoy it. Let's wait its bettering...
Highlighted comments for the Third version from Wikimedia Commons: (Updating)In the third version, much more stability and unification of speeds and rhythm have been made, which better reflected out more skillful techniques, stretched movements, flexible coherence, sweet tastes (as Sachertorte - Wikipedia introduction: [2]) and brighten colours of Vienna School being dreamed after by many players (including myself). Meanwhile, you can also hear 'pearls of last session' (heads of motives) have been threaded in the melodic layer.Jason M. C., Han (discuss • contribs) 19:25, 12 April 2018 (UTC)
This sound file was recorded as a classroom performance of D major sonatina (the second movement of Op.55 No.5, published in1823). Its manuscript was from level Grade 5th of <The Works-Collection for National Grading Tests'>, for piano education. This piece was very famous among China piano kids and learners. I just felt very funny to show its rich colours and changes in dynamics and playing scenes, then practiced some times in my classrooms, and shared here for educational usages. It would be much fluent and flexible if practicing for longer time, and better editions would soon come up. Hopefully, in 2018 Christmas days, it would make piano kids happier, including me. And, hopefully, you like it. Yours Jason M. C., Han (discuss • contribs) 16:07, 21 December 2017 (UTC)
Sonatina VS. Sonata - seen as two independent but successive thinking ways[edit | edit source]
Video of Turkey March to show some possible classical playing techniques & manners:
Turkey March Video-Mozart-Jason Han
Mozart's KV279 Sonata form in 1st movement, but also with ABA sonatina form in total[edit | edit source]
Please see besides:
For a kid, in my memory, there was a sonata named KV279 of Mozart. It's the first movement, as a new beginning in the past when I found its characteristics met the development of one of my kids' personalities - was very funny, sunny, smart, with a little bit of childishness and was always dedicating himself in expressive performances in life. Then, I decided to make it into curriculum plan of their piano tutorials. Indeed, it was a big challenge of both us that I had very few chances to touch Mozart's works in my childhood. Meanwhile, Mozart's ornamentations (such as tr., depending notes in small shape, rotating notes, some jumping scale-phrases, small slurs among smooth legatos and some continuing up-sliding notes with fioriture style in Coloratura soprano singing ... ) were quite difficult - smart, delicate, sweet, fluent and flexible, which need long-time trainings. They were like 'you were playing a kid's toy but never able to get the perfection'. Then, you were continuing and continuing; and, more curiosities and interests were self-reflected out from this procedure. I thought it's what Mozart's heritages left to us - 'never tired eyes to discover beauties from kid's universe'.Further imagining: During the year 1774 when Mozart was 18 years old, he made this piece. What a beautiful world Salzburg left in his eyes - a good employment as a court musician, lots of friends, many demands for his compositions from different instruments (especially violin concertos, which I thought also influenced his creations of piano sonata and some ornamentations' techniques)... Oh, though finally, things began to turn bad that he played out most of his beautiful youth, but still cannot get a good salary and the total acceptance... (Oh, Mozart, you needed to forget those unnecessary issues. Your own giftedness was already what gifts Lord has given to the earth...) Following it, this style has almost ended... But, a angelic, bright, joyful, clean and pure youth has been recorded into manuscripts, which was what we needed to say: thanksgiving!In my mind, Mozart's sonatas were truly recording his emotional changes from nature - the happiness, the willing of expression, some grey sadness, fears of mind-aging, some storms rising from heart-sea (especially the beginning of my 2nd part), and some mind-solutions... In order to grasp them - those changing abstracts for better communications with this master composer, Sonata form-analysis was quite important. Wikipedia introduction - https://en.wikipedia.org/wiki/Piano_Sonata_No._1_(Mozart) - would give us some enlightenments. When I began my lessons with kids, I also put it as a very important thinking-training to my kids and myself. Indeed, some boundaries were sometimes fuzzy and discussable; but it was like to review a mind-journey of creations left funny senses and 'a positive heart searching sun-rising direction' were what we can cherish for our own lives. Till here, you would ask me: 'Jason, why did you divide it - a whole movement into two parts?' 'Oh, naughty boy or girl... I am quite sorry there were two reasons: firstly, I feared my techniques would breakdown which made the whole melody couldn't last to final coda. Though it was LIVE effect that you might say small breaks in classroom edition were allowed merely you can re-pick up in time and renew it in future; to my own heart, I might also feel somethings lost...' Every time's try, in my heart, I was all willing it could be a better edition of certain periods in my life... even my hands cannot. But, finally, I found in Part 2, 'mistaken sliding note to other key' still happened - it was a E in Bar100, which students could try to point it out. Indeed, the whole coda part wasn't satisfactory. Secondly, in emotional colours, g minor shift in flatten B system would mean a relative grey storm was forming from Mozart's heart-sea. It's a new development which we can taste more funs in this journey... Finally, thanks to the original manuscript from Breitkopf & Hartel Company and the University of the Arts Berlin, which allow me and my kids touch Mozart's original thoughts of ornamentations and dynamics in his works and emotions, for better LIFE Recoveries. Give a 'like'! A better edition will come out in the future! Thanks to all!Let us listen to KV279's first movement!Jason M. C., Han (discuss • contribs) 02:18, 23 August 2017 (UTC)KV 279 P2 Following
2nd Movement Andante:
KV279 2nd Movement Shading Andante hollowed-out by Sunlights
Autumn (Fall) Sonata in kids' heavenly corner - Mozart's Piano Sonata No. 16 in C Major (K. 545)[edit | edit source]
Many lines and colours, forming waves and clouds, from emotional changes and memorized complexes, were hidden behind a sunshine Alberti background with Brighten Blue across sky and sea... ,then, hung on Mozart's frown
Brief Work-analysis:
B1-B16: Introduction under the Sunshine
B17-B32: Development over Brighten clouds
B33-B48: Different voices hidden behind grey rain
B49-B63: Recapitulation getting back blue sky
B64-End: Coda lingering for joyful memories
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Possible piano-pedagogy wiki-researching way for Mozart's works (Advanced):
1. Clarify the date of Mozart's certain work you are playing, such as Piano Sonata No. 16 in C Major (K. 545) in the year 1788;
2. Bring the date to search Wolfgang Amadeus Mozart's life background in Wikipedia and (or) other relative articles - focusing on '1.6 Later years 1.6.1 1788–90' and earlier '1786–87: Return to opera', especially some the main journeys, life impressions (main sufferings & joyfulness - mainly, cold or warm), the main emotional lines and what other instrumental & vocal genres what have influenced his creational inspirations (Wikipedia introduction:[6]);
3. Melt his life background into the understanding of some colourful parts occurring in this work and keep them in mind - to self participant-observe and reflect Mozart's life experiences introduced there into the thinking of his manuscripts on hands;
4. Set up necessary piano techniques, such as legato in accompaniment, jumping slur-breathes, to suite, recover and reappear those emotional colours into your own plays;
5. Transform some your individualist understandings & interpretations from your own lives (as the developing zones) into your plays, as the fashion of yourself in Mozart's (you can sub-title those parts as what I did above);
(6.Optional but not necessary) Make some quantitative (3 or 5 levels) statistics of how you can achieve the fine feelings after frequent tries and performances in front of your peers, such as certain parts' dynamics and keyboard-touching sides
To the great piano composer of romanticism - Franz Schubert(Wikipedia introduction:https://en.wikipedia.org/wiki/Franz_Schubert), sorry Sir, I didn't know many piano sonatinas or sonatas from him, but only a Ständchen (Little Night's Song- https://en.wikipedia.org/wiki/Ständchen_(Schubert)) kept from Childhood. It's said my mother almost heard it when being in the situation pregnancy with me... But, sorry, I cannot clearly remember something... may it be in unconsciousness that I have a good impression of it? No matter how, in this time, I played it like in solo-piano sonatina style, but waiting for someone's voice alongside. As I said, piano kids, your musicality can understand it as 'to achieve an uncompleted & sweet dream, by spending a hard & dark night, of searching a real & bright dawn...' on a night road. And firstly, please expressively exercises your keyboard correctly and beautifully, as from a piano teacher's suggestion. Then, you can make your voices beautifully in tune. Another point is: I think it's not quite a piano accompaniment style, but solo-piano fashion, with the main melodic line broken into fragments tightly connected into its accompaniment, which needs you apply your fast-responding ability (trained) to join two far-distant positions immediately. And your dynamics-musicality need to suit its development from the silent beginning, to the middle-later self-encouragement , and the happiness sleeping dawn-time...
Oh, piano kids, don't fear about night darkness, as that day brightness should come always... If Sonatinas' heaven has day light, it should have night time. And, Ständchen (Schubert), played and sung, would support us to go on...
In brief, let us listen to...
Ständchen (Schubert)-Serenade D957 No.4, Player Jason, Han
'Jason, Who is Elise? and, Why 'Für Elise'? and, what's their relationship?' Kids usually asked me... 'All in the music' answered by Jason[edit | edit source]
For Elise (Für Elise) Beethoven JMC Han
Though 'Title' question above was difficult to answer, there were several points in life impressionism can be sure:
1. It's for one of his girl-students whose nickname or given name (called by family members) was 'Elise';
2. This girl-student finally almost became other person's wife;
3. Though we cannot sure the emotional background in this melody was about 'LOVE' between Beethoven and his 'this' girl-student, Beethoven has almost sublimated it from individual expression to be a romantical LOVE for all creatures and a dream of heaven, like what in Ode to Joy... from a struggling life experience...
4. How can we imagine Beethoven's character in this melody? I think the young time of its most famous player - 'Pop-classical Piano Prince' Richard Clayderman (Wikipedia introduction: https://en.wikipedia.org/wiki/Richard_Clayderman) and his situations in many TV programmes or DVD recordings or CD files in the past could give us some suggestions... If one of his many recordings was for a girl-student like you or the one in your memory? How do you feel? Could it work now...? (By the way, I used to think Richard was a real prince in English-speaking world...'Richard, you knew...' Finally, I found he was from the romantical capital - France)
5. No-separation matching of your two hands, clearly running of many chromatic passages and some colourful progressing Arpeggios (for the connections between two different paragraphs), and breathing your pedalling more naturally & smoothly could better the situation of your performance.
Jason M. C., Han (discuss • contribs) 13:11, 28 September 2018 (UTC)
2nd Movement in Moonlight Sonata - 'A Little Fantasy flower growing in the crack of two heavy rocky layers'[edit | edit source]
Heaven open: the weakest seed usually became the strongest. Now, you see, we are drawing a beautiful flower through piano. It was called 'Beethoven's little Fantasy flower' with many pure lights and colours only in dreams. It usually bloomed in the hard and dry 'crack' but contributed the smile to everyone passing by. Watching it, Beethoven's heart was wandering and dancing like a joyful angel in a world full of love.
TAWTUTB('Things Ain't What They Used To Be'): Possible small Improvising Jazz & Blue piano-sonatina from piano-educational views in thinking (melody with simple Accompaniment)[edit | edit source]
Post-Collection: Though, it wasn't mature and in building. Here, regarding with this session, giving thanks to teachers and teacher educations working in Future Learn Platform! I also need to give thanks to my piano-exercises tutorial group, from the educational origin & reasonability. (Wikipedia introduction: https://en.wikipedia.org/wiki/FutureLearn)
Chorus 1st, 2nd and 5th (movements or paragraphs in sonata & sonatina form)::
TAWTUTB American blues in Cm Pentatonic
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Chorus 3rd (movement or paragraph in sonata & sonatina form):
TAWTUTB Dialogue between Blues and Ancient Pentatonic Root
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Chorus 4th (movement or paragraph in sonata & sonatina form):
TAWTUTB Deep Blues in East Folk Reasoning
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Whole view (Choruses or variations in full structure: In this point, I thought if published or written in the notation, it would be in sonata & sonatina form. But, in self-improvising and minds, it's better to use choruses or improvising variations to describe):
Further Piano Improvising- "Things Ain't What They Used To Be" in Whole Educational View (5 choruses and 3 devices of Tenths-Level) and a East Folk Dialogue (Blue & Old Asian Minor Pentatonic Reasoning)