Piano Forum

are you for real - or is this some kind of bait?  *goes to get mozart sonata book.

btw, did you ever tell us what happened to the other guy with the 'middle section' problem? 

ok.  do you mean K 332?  i'll give you all my notes.  i worked this with a french teacher who spoke english - and now you can translate it into russian as i assume you do not speak russian during the lesson but probably write it on the page.

he put, for the first movement, a final tempo of 144= quarter note.  tempi is very important to this first movement as it IS allegro but you don't want it so fast that you cannot phrase it.  my little notes say "the charm of this sonata beginning lies int he fact that it is not like a beginning, but like a second theme. lyrical and magical."  this is very important to the little two note phrases at the very beginning.  my teacher useda red pencil and marked again the two note phrases WITHIN and larger phrase.  many students make the mistake of thinking in small chunks.  but, what you want the studnet to understand is that they can make a larger phrase out of these smaller 'pieces.'  the first (to the quarter rest) is the 'question' and the second the 'answer.'  you have to teach the student how to 'talk to her/himself.' 

for the little trill i would use (3232) at measure 8.  always from the upper note as you already well know.  and ending at m 11 forte (not double forte as students tend to do).  even forte is often too loud.  see if you can get your student to play for you what they think is forte and tell them it's 'down one notch.'  if they can master this concept - they can play mozart well.  it's not beethoven.

now, at measure 12 you have the first technical difficulty - the thirds.  my teacher gave me a whole set of five finger exercises to go up and down the keyboard with in thirds.  am sure you have your own.  make sure the student practices these to supplement so when he/she comes to this point - there's no effort involved.  show the student not to be fearful of this spot and how easy it is.  when you play it - make it look like it's nothing (which it really isn't) but make sure all thenotes sound.  bringing out the top note of the third.  (the fingering for the rh is changed in my book to 421 (same note finger switch to:)2 and then 3 2 (1 2 1 for the F's) then 42 for the G/E.

the left hand thirds would be fingered:  31 42 35 (same notes) 13 12 and then 14 for 5th.  25 for the F/A.  i have 14 for the lh G/C repeated.  then 25 to 13 bring hand up and then play 13 to 24  to 35 13 12 14 at measure 17.  you end on 25 again (F/A)

i have much more fingering - which is really crucial to playing this well.  you have to teach the student to be comfortable sometimes letting go of a two note phrase - picking up their hand (relaxed) and placing it again somewhere else. 

on the next page at measure 53 make sure the appogiatura of three notes is started ON the beat.  draw a red marker line to connect it with the bass note F  (from the rh G).  little notes like this with a fine red marker are heeded by students, whereas pencil doesn't show up much.  my teacher used to put little V's on whichever rests i wasn't observing, too.