Beethoven Moonlight Sonata Harmonic Analysis (Sheet Music + HQ Audio) скачать в хорошем качестве

Beethoven Moonlight Sonata Harmonic Analysis (Sheet Music + HQ Audio)

This video presents my edition of the sheet music for the “Adagio Sostenuto” from Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2, commonly known as the "Moonlight Sonata", alongside harmonic analysis using Roman numerals and chord symbols. Suggested pedal markings and fingering have also been added: in the video, you can also see an animation reproducing the exact pedal pressing used for the recording. You can get the 6-page sheet music with harmonic analysis plus a 10-page preface (A4 PDF booklet) at the following links: Ko-fi shop: https://ko-fi.com/s/400cb00cec SheetMusicPlus: https://tinyurl.com/Moonlight-Sonata-... The notation and the expression markings have been carefully retranscribed based on two primary and historically sources as available on IMSLP.org: Beethoven’s autograph manuscript, lacking the title page and measures 1 to 13. Giovanni Cappi’s first edition, published in 1802. =============== Excerpts from the preface (...) Tempo and Metronome Markings The Adagio Sostenuto (...) has been interpreted by renowned pianists at very different speeds, ranging from very slow tempos (around 40-42 bpm) up to faster tempos exceeding 55 bpm. Ultimately, the choice of tempo rests with the performer’s expressive intent. However, it may be preferable not to go below 50 bpm for the following reasons: Tempos just above 40 bpm are typically associated with tempo markings such as “Grave” or “Largo”, while “Adagio” generally aligns with tempos above 50 bpm. The term “Sostenuto”, when combined with “Adagio”, generally indicates a sustained, connected style of playing, emphasizing lyrical continuity and smooth phrasing rather than extreme slowness or heaviness. The 2/2 time signature has historically been associated with a rhythmic flow that is less fragmented and little or not consistent at all with very slow tempos. The continuous and persistent character of the eighth-note triplets seems to point to a more fluid movement rather than an excessively staggered one. Some of the earliest historical editions explicitly indicate metronome markings of 60, 54, or 52 bpm (see below). (...) Use of the Sustain Pedal Another widely discussed topic regarding the correct interpretation of Beethoven’s indications concerns the use of the sustain pedal. As mentioned, Beethoven's instruction "Senza Sordino" indicates playing without engaging the dampers, accomplished by sustaining the pedal continuously. Considering the time when the sonata was composed, the piano Beethoven wrote for was quite different from modern instruments (...) What is certain is that on modern pianos it is virtually unfeasible to play the entire piece with the pedal constantly depressed. (...) It is advisable to experiment on the individual instrument to decide when to employ each pedal technique or half-pedaling where available. (...) Expression Markings This edition includes only the portamento slurs and dynamic markings from Cappi’s edition, carefully verified and possibly supplemented with Beethoven’s manuscript (...) Harmonic Analysis The modulations in this movement usually happen by using a chord common to both the old and new keys (“pivot chord”). The first example appears at measure 7. In the notation, the old key is shown in italics and parentheses (here, C♯minor), with the new key below in regular font. Next to it, the chord degree is indicated for both keys: in the example of measure 7, the F♯minor chord is the fourth degree in C♯minor and the second degree in E major. From that point on, the analysis refers to the new key. There is also the use of a chromatic pivot modulation at measure 10 (... and) one case of direct modulation at measure 19 (...) Pedal Point The prolonged pedal point between measures 28 and 40, characterized by a sustained dominant note (G♯), is indicated in the score by a dashed line. (...) Conventions Used In the harmonic analysis in Roman numerals (...), uppercase characters indicate chords with a major third or suspended chords (for example: II), while lowercase characters (for example: ii) indicate chords with a minor third. Regarding diminished chords, the following notations are used in the harmonic analysis: ii° = diminished triad iiø = diminished triad when the chord also has a minor seventh (half-diminished chord) Arabic numerals are naturally added to indicate the presence of sevenths (always present in half-diminished chords) and inversions. In chord symbols, half-diminished chords are indicated with the single ø symbol appended to the chord symbol, as the minor seventh is always present. For example, the symbol D♯ø/F♯ appearing at bar 58 should be considered equivalent to D♯m7♭9/F♯. Regarding Neapolitan sixth chords, (...) only the clear functional notation ♭II6 is used in the analysis (this chord is frequently labeled as “N6” or simply “N”). (...) #beethoven #moonlightsonata #harmonicanalysis #sheetmusic #haltber #classicalmusic