Session 10: Classical Repertoire I
Overview
Section titled “Overview”- Phase: 2 — Harmonic Depth
- Duration: 75 minutes
- Prerequisites: Completed Sessions 1-9. ii-V-I progressions. 7th chords. Arpeggios. All 24 triads in inversions. 2-octave scales in 9+ major keys and 4 harmonic minor keys.
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Read classical score markings (tempo, dynamics, ornaments, repeat signs)
- Play a trill and two types of grace notes (acciaccatura and appoggiatura)
- Explain the difference between Baroque and Classical period style
- Perform Bach’s “Minuet in G” BWV Anh. 114 with both hands
- Perform the first A section of Beethoven’s “Fur Elise” with both hands
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (Harpsichord tone for Bach; Grand Piano for Beethoven)
- Metronome set to 80 BPM (for the Minuet) and 60 BPM (for “Fur Elise”)
- Sustain pedal connected
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Scale Review (4 minutes)
Section titled “Scale Review (4 minutes)”Play 4 scales, 2 octaves, HT, at 72-80 BPM:
- G major (the key of the Bach Minuet)
- A harmonic minor (related to the key of “Fur Elise”)
- D major
- Eb major
Arpeggio Review (3 minutes)
Section titled “Arpeggio Review (3 minutes)”Play each 1 octave, HT, ascending and descending at 60 BPM: G major — D major — Am — Em
These arpeggios appear in today’s classical pieces.
ii-V-I Quick Drill (3 minutes)
Section titled “ii-V-I Quick Drill (3 minutes)”Play ii-V-I in C major and G major, both hands, smooth voice leading, 2 times each.
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”Reading Classical Scores
Section titled “Reading Classical Scores”Classical music scores contain markings that pop and jazz charts do not. Here are the essential ones:
Tempo Markings (Italian)
Section titled “Tempo Markings (Italian)”| Marking | Meaning | Approximate BPM |
|---|---|---|
| Largo | Very slow, broad | 40-60 |
| Adagio | Slow, at ease | 60-76 |
| Andante | Walking pace | 76-108 |
| Moderato | Moderate speed | 108-120 |
| Allegretto | Moderately fast | 112-120 |
| Allegro | Fast, lively | 120-156 |
| Presto | Very fast | 168-200 |
The Bach Minuet is typically played Allegretto (about 112-120 BPM). We will start slower for learning. “Fur Elise” is typically Poco moto (with a little motion) — about 60-72 BPM.
Ornament Symbols
Section titled “Ornament Symbols”Trill (tr): Rapid alternation between a note and the note above it. Example: A trill on C means you play C-D-C-D-C rapidly. In Baroque music, trills usually start on the upper note (D-C-D-C-D-C).
Acciaccatura (grace note with a slash): A very quick note played just before the main note. Written as a small note with a line through its stem. It has almost no time value — crush it into the main note. Example: A small D before E means you play D-E very quickly, with E on the beat.
Appoggiatura (grace note without a slash): A “leaning” note that takes time from the main note. Written as a small note without a slash. It takes about half the value of the main note. Example: An appoggiatura D before a half-note E means you play D for a quarter note, then E for a quarter note.
Play each ornament on your keyboard:
- Trill on G: G(3) A(4) G(3) A(4) G(3) A(4) G(3) — rapid, even
- Acciaccatura D before E: quick D(2)→E(3) — the D is barely heard, like a flick
- Appoggiatura D before E: D(2) held for half the beat, then E(3) for the other half
Baroque vs Classical Style
Section titled “Baroque vs Classical Style”| Feature | Baroque (Bach, ~1700) | Classical (Beethoven, ~1800) |
|---|---|---|
| Texture | Contrapuntal — two independent melodies | Melody + accompaniment |
| Dynamics | Terraced (sudden p to f) | Gradual crescendo/diminuendo |
| Ornaments | Frequent trills, mordents | Fewer, more expressive |
| Pedal | No pedal (harpsichord has none) | Sustain pedal used expressively |
| Rhythm | Steady, dance-like | More flexible, dramatic pauses |
| Tone on CT-X9000IN | Harpsichord | Grand Piano |
Technique (15 minutes)
Section titled “Technique (15 minutes)”Trill Practice (3 minutes)
Section titled “Trill Practice (3 minutes)”Play trills with your RH on these notes, each lasting 4 beats at 80 BPM:
- Trill on D: D(2) E(3) D(2) E(3) D(2) E(3) D(2) E(3) — 8 notes in 4 beats (2 per beat)
- Trill on G: G(3) A(4) G(3) A(4) G(3) A(4) G(3) A(4)
- Trill on B: B(4) C(5) B(4) C(5) B(4) C(5) B(4) C(5)
Start slowly — just 2 alternations per beat. Speed up when even.
Technique: Use wrist rotation, not finger force. Let your wrist rock slightly from side to side. The fingers follow the wrist motion — this prevents fatigue.
Grace Note Practice (3 minutes)
Section titled “Grace Note Practice (3 minutes)”Acciaccatura: Play a quick D(2) → E(3), where D barely sounds before E lands on the beat. Do this 8 times. Now try: quick F#(4) → G(5). 8 times.
Appoggiatura: Play D(2) → E(3), but this time D gets half the beat and E gets the other half. This sounds more deliberate, more “leaning.” 8 times.
G Major Scale and Arpeggio — Performance Speed (4 minutes)
Section titled “G Major Scale and Arpeggio — Performance Speed (4 minutes)”The Minuet in G needs fluency in G major:
- G major scale, 2 octaves, HT at 80 BPM — 3 times
- G major arpeggio, 1 octave, HT at 72 BPM — 3 times
A Minor Scale and Arpeggio — For “Fur Elise” (5 minutes)
Section titled “A Minor Scale and Arpeggio — For “Fur Elise” (5 minutes)”“Fur Elise” is in A minor:
- A harmonic minor scale, 2 octaves, HT at 60 BPM — 3 times (focus on the G#)
- Am arpeggio, 1 octave, HT at 60 BPM — 3 times
Also practice the opening motif of “Fur Elise”:
This repeating E-D#-E pattern is the most famous piano motif in history. The D# is an acciaccatura-like ornamental note that rocks back and forth.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”Piece 1: Bach “Minuet in G” BWV Anh. 114
Section titled “Piece 1: Bach “Minuet in G” BWV Anh. 114”This Minuet (originally attributed to Bach but likely composed by Christian Petzold) is one of the first classical pieces every piano student learns. It is a Baroque dance in 3/4 time — elegant, balanced, and contrapuntal.
Tempo: 100 BPM (start at 80) | Time Signature: 3/4 | Key: G major
Right Hand:
Left Hand:
Practice Strategy:
- RH alone, measures 1-8, at 72 BPM — focus on the eighth-note pairs (they should be light and elegant)
- RH alone, measures 9-16
- LH alone, all 16 measures — notice how the LH has its own melody, not just accompaniment
- Both hands, measures 1-4 — very slowly (60 BPM). The hands are semi-independent.
- Both hands, measures 5-8
- Both hands, measures 1-8
- Both hands, measures 9-16
- Full piece at 80 BPM, target 100 BPM
Piece 2: Beethoven “Fur Elise” — First A Section
Section titled “Piece 2: Beethoven “Fur Elise” — First A Section”The first A section of “Fur Elise” is 8 measures that contain the most recognisable piano melody in history. The full piece has an ABA form, but this section alone is a complete musical statement.
Tempo: 60 BPM (Poco moto) | Time Signature: 3/8 | Key: A minor
Right Hand:
Left Hand:
Both Hands Together — Practice Strategy:
- RH alone, measures 1-4 — The opening E-D#-E-D#-E-B-D-C-A motif. Play very slowly until it flows. This pattern repeats.
- RH alone, measures 5-8 — Notice how measure 5 mirrors measure 3 but with a different resolution.
- LH alone — Simple broken chords (A-E-A and E-E-G#). Learn these until automatic.
- Both hands, measures 1-4 — The RH melody starts alone (no LH for measures 1-2), then LH enters on measure 3. This is actually easier than it looks because the hands do not play simultaneously at first.
- Both hands, measures 5-8 — same pattern.
- Full A section at 50 BPM, then gradually increase to 60 BPM.
Expression:
- Play p (soft). “Fur Elise” is intimate, not dramatic.
- The opening E-D# oscillation should be perfectly even — like a gentle rocking.
- No sustain pedal for the opening motif (it would blur the fast notes). Add pedal when the LH chords enter.
- The G# in the LH (measure 4) is the raised 7th of A harmonic minor — the same note that gave the “Moonlight Sonata” its haunting quality.
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Listening Like a Musician
Section titled “Listening Like a Musician”Exercise 1: Classical vs Pop Listening (4 minutes)
Section titled “Exercise 1: Classical vs Pop Listening (4 minutes)”Play the Bach Minuet and then play “All of Me” (from last session). Notice:
- Bach: two independent lines (RH melody + LH melody). Neither is “accompaniment.”
- John Legend: melody + chord support. The LH serves the RH.
This is the fundamental difference between counterpoint (Baroque — multiple equal voices) and homophony (most modern music — melody + accompaniment).
Exercise 2: Identify the Ornaments (3 minutes)
Section titled “Exercise 2: Identify the Ornaments (3 minutes)”Play a trill on G (G-A-G-A-G-A-G). Now play G as a plain note. Can you hear the decoration the trill adds? It is like a musical sparkle.
Play an acciaccatura: quick F# → G. Now play G alone. The grace note adds urgency, a slight crunch.
Listen for these ornaments in the Bach Minuet — even if this simplified arrangement does not include them, the original does. When you hear a recording of the Minuet, listen for trills and ornaments.
Exercise 3: Major or Minor? Fast or Slow? (3 minutes)
Section titled “Exercise 3: Major or Minor? Fast or Slow? (3 minutes)”Answer these questions about the two pieces you just learned:
- Bach Minuet: Major or minor? (Major — G major.) Fast or slow? (Moderate-fast — Allegretto.)
- “Fur Elise”: Major or minor? (Minor — A minor.) Fast or slow? (Moderate — Poco moto.)
Now think: does the key affect the mood? G major sounds bright and danceable — perfect for a Minuet. A minor sounds wistful and intimate — perfect for “Fur Elise.”
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned classical score markings: tempo (Italian terms), dynamics, and ornaments
- Played trills, acciaccatura, and appoggiatura
- Understood Baroque vs Classical style differences
- Performed Bach “Minuet in G” — your first Baroque piece
- Performed Beethoven “Fur Elise” (A section) — the most famous piano piece ever
Self-Check Questions
Section titled “Self-Check Questions”- What is the difference between an acciaccatura and an appoggiatura?
- Name three differences between Baroque and Classical piano style.
- What key is the Minuet in G in? How many sharps?
- What note in “Fur Elise” reveals the harmonic minor scale? (Hint: it appears in the LH)
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- Bach “Minuet in G” — 15 minutes daily. RH and LH separately first, then both hands. Target: full piece at 100 BPM.
- Beethoven “Fur Elise” A section — 15 minutes daily. Focus on the E-D#-E opening motif. Target: both hands at 60 BPM.
- Trill practice — 5 minutes daily. Trills on D, G, and B. Even alternation, wrist rotation.
- Scale and arpeggio maintenance — 10 minutes daily.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Playing Bach like Beethoven: Bach should sound clean, precise, and light — like a harpsichord. Beethoven should sound expressive, with dynamic shading. Different periods, different styles.
- Uneven trills: Trills sound terrible when uneven. If one alternation is faster than the other, slow down and use the metronome. Start with just 2 alternations per beat.
- Pedal on “Fur Elise” opening: The E-D#-E-D#-E motif should be played without pedal. Adding pedal blurs the fast notes into mud. Only add pedal when the LH chords enter.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Period-Appropriate Tones
Section titled “Period-Appropriate Tones”For Bach “Minuet in G”:
- Use Harpsichord tone (check your CT-X9000IN tone list — usually in the 006-008 range)
- The harpsichord does not respond to touch dynamics (volume is fixed). This mimics a real harpsichord, which is why Baroque music uses “terraced dynamics” (sudden shifts) rather than gradual crescendos
- Try playing the Minuet on harpsichord — it transforms the piece into something authentically Baroque
For Beethoven “Fur Elise”:
- Use Grand Piano tone (000)
- Beethoven wrote for the piano (not the harpsichord), so touch response is essential
- Adjust touch sensitivity to Normal or Medium — you need the full dynamic range
The experiment: Play the same passage on both tones. The harpsichord sounds sparkly, precise, mechanical. The piano sounds warm, expressive, dynamic. This is the difference between the Baroque and Classical eras — the invention of the piano (fortepiano) changed everything because it could play loud AND soft (hence “pianoforte” — soft-loud).
Save your Classical setup to Registration 8:
- Tone: Harpsichord (for Bach)
- Metronome: 80 BPM, 3/4 time
- Touch response: Off (if your keyboard allows this for harpsichord simulation)