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#3174787 12/03/21 04:19 AM
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I’m learning Beethoven sonata no.6 in f major op.10 no.2 1st movement. It’s not going too bad but I have a fingering issue in the left hand that I might need advice on. From bar 30-35 I have trouble playing these and changing fingers from 4 to 5 is difficult.

Anyone who’s worked on this piece let me know your thoughts and also how did you find learning this piece and what are some troublesome spots you found and your advice?


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Originally Posted by scottgreen94
I’m learning Beethoven sonata no.6 in f major op.10 no.2 1st movement. It’s not going too bad but I have a fingering issue in the left hand that I might need advice on. From bar 30-35 I have trouble playing these and changing fingers from 4 to 5 is difficult.
Are you trying to follow the fingerings in your score?

I don't know whether the ones in mine (ABRSM circa 1931) are Beethoven's, but I don't care - if they don't suit me, I change them. After all, my hands are more shapely than Luddy's, less hairy, more petite whistle, and I don't play like him (though I don't know how he plays).

Use 4 all the way through, or whatever fingering suits you. Or even better, ask your teacher for advice.


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I have the Henle edition. I never look at fingerings in the score because half the time they don’t work for me and I figure out my own. I don’t have a teacher. I done all grades and DipABRSM so I just play for fun. And I can’t justify paying for a teacher when I can just play/practice myself.


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Originally Posted by scottgreen94
I have the Henle edition. I never look at fingerings in the score because half the time they don’t work for me and I figure out my own.
What does Henle say?

Have you tried 4, as I mentioned?


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I find 5 on the F, 4 on the G and 3 on the A the easiest if you are having trouble. It doesn't require any finger substitutions this way - you'll just have to find a way to approach ending up with 4 on the first G. If you cannot do that, you'll end up substituting. The above suggestion preserves a legato base line between the F-G-A if you are going for that.

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The number of options is rather limited anyway.

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With this fingering section put aside, anyone who’s played this movement what has been your experience with it?


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Originally Posted by scottgreen94
With this fingering section put aside, anyone who’s played this movement what has been your experience with it?
I haven't played Op.10/2 properly since I was a teenager, but I remember it was fun to play (especially the finale) and did not present any great difficulty, unless you try to rush.

However, I'd already learnt Op.10/1 and the Pathétique before I tackled this one, and Op.10/2's first movement is easier than the others'.


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Originally Posted by bennevis
I haven't played Op.10/2 properly since I was a teenager, but I remember it was fun to play (especially the finale) and did not present any great difficulty, unless you try to rush.
For a second there, I thought you were talking about Chopin etude op 10 no 2, which gave me a mini heart attack.

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Originally Posted by scottgreen94
With this fingering section put aside, anyone who’s played this movement what has been your experience with it?

I played the sonata a long time ago when i was in my Beethoven period. The first mouvement is fairly standard classical period Beethoven. Many passage work, so it depends how fast you want to take them. There is a passage in octaves which can be tricky to play cleanly at tempo, and a few arpeggios and passages in 32nd.

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Originally Posted by scottgreen94
From bar 30-35 I have trouble playing these and changing fingers from 4 to 5 is difficult.

At the 2:40 mark in the video linked below, Graham Fitch refers to passages such as this as "spinning chords." (Not Beethoven here, but the idea still applies.) I think alignment of the fingers (as parallel to the keyboard as reasonably possible for the fingers that are playing at the moment) and use of wrist rotation are as important as the fingering. At the start of each six-note phrase in the measures you cited, the wrist should be higher than level, and left-leaning to assist the weaker 4th and 5th fingers and align them with the keyboard. This also helps with the holding of the first notes of the phrases, throughout their respective phrases, as Beethoven indicated in the score, and sets up the hand and the wrist for playing the notes that follow. As the hand progresses through each phrase, the wrist is lowering and shifting a little to right to maintain a parallel alignment of the 3rd through 1st fingers as they're being played compared to the keyboard line. The latter 4 notes of each phrase are a sort of back forth between the 1st and 2nd, or 1st and 3rd, or 2nd and 3rd fingers (depending on the phrase) that is mirrored with a tiny back and forth wrist action. Each six-note phrase ends on the 2nd or 3rd finger, which serve as lift-off pads for the first note of the next six-note phrase. "Lift-off" here can be taken literally, as it's perfectly okay if not best to have the tiniest of breaks between phrases to clarify and slightly accentuate the beginning of each new phrase (after all, the first note of each phrase needs to be played at least slightly louder, as it's the only note that's held for the full phrase). The rotation of the wrist in each phrase should set up for the slightly raised, left-leaning wrist the next phrase begins with. The forearm should feel like it is "behind" the wrist at all times, i.e., perpendicular to the horizontal wrist line. You can vary the alignment of the wrist, and the degree of its rotation, for the various phrases as needed to perfect the even timing of the notes throughout all phrases.

As always, incredibly slowly at first to give time for muscle memory to develop naturally and consistently.

(I tried to set up this video link so it starts at the relevant 2:40 mark, but it's not working, so please just manually skip to that point.)


Last edited by MrSh4nkly; 12/04/21 06:48 AM.

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