We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
By way of comparison, this is Sonata in G major, op. 49, no. 2.
The two op.49 sonatas are actually not sonatas - they are called sonatinas for short sonata. I suppose if you were going to be a jerk about it, you would call them minuets only longer. :>)
Written in the Classical style rather than the Romantic or Heroic style, they are what is called "scaled" pieces - meaning that they rely heavily on G minor and G major tonic scaling, the use of parallel thirds (right hand and left hand), varying time signatures (for example 3/4 notation in 6/8 time signature), various arpeggios, smooth and easy transitions, etc. Interspersed in all this are little trills and other flourishes to kind of spice things up a little.
They are not considered "technical" pieces because from a traditional standpoint, they are not that difficult to play once you learn the G minor/major scales or to put it another way, technigue is not an important feature of these two pieces as the scales used are. One or two of the movements of the two sonatas are taught to beginner piano students.
Please don't ask me how I know all this because I would have to tell the truth and that would end my manly man image. :>)
Paul Desmond on tenor sax --watch him bend those blue notes rapid-fire in that 5/4 time --and catch Joe Morello's way of reversing his right drumstick without taking a chance of dropping it --then watch him close the performance with those two tiny rimshots --lordy --what a class act --
Good a name as any --it's so ultra cool, makes my head swim. here they are five years later, same song. Piano plays the percussion solo here --Brubeck lights up the melody. Meanwhile Desmond has added some Birdman --different than the 61 --but all goooood --
Where have all the sonatas gone, long time passing
Where have all the sonatas gone, long time ago
Where did Ludwig's pieces go
Gone to Jazzmen every one
Oh when will we ever learn
Oh when will we ever learn?
Bird Dog, you're not the only one who needs some repetitions to "get it".
When my piano teacher decided that I should learn a Beethoven sonata, she played one for me on an LP (this was the old days). I did not like it at all. But I dutifully began to learn the piece. After I had practiced it for a while, I began to appreciate the recording. When I could play the sonata, I came to really love it.
By the way, my piano teacher called some of Beethoven's pre-romantic German Dances "hay stomper" music. Sometimes stomping hay is fun. No need to listen to these 40 times to "get it".
Piano lessons are a PiTA, but with the right teacher, it all comes together really quickly.
I was fortunate in that my Uncle the Jesuit knew a Franciscan nun who taught piano as relaxation believe it or not. She started me on scales - there is nothing more boring than scales. Major/minor Pentatonic, Dorian, Lydian, Octatonic, Phrygian Arabic and Jewish - half, whole and augmented, Locrian major - well pretty much all of them.
Six years interspersed with learning Beethoven, Mozart, Haydn dances, divertimenti, serenades and sonatas. I could "play" ok, but I still didn't "get" it - no passion it was strictly all technique and rote playing.
When we moved East I started babysitting for the neighbors who were professionals and had a small jazz group. I met the piano player, we got to talking and then it happened - he showed me how all this "stuff" tied together in four lessons. Haven't looked back since. :>)
But I will say this - learning all those scales and their individual characteristics was the key - the nun just couldn't translate that - well, at least for me.
This is conducter Hazelwood taking the 6th apart passage by passage --an hour and a half long but a music edjakashun all in itself --the actual piece he conducts starting around 40:00 in --but he gets into analyzing the 'stompy' stuff from 30:00 to 35:00 roughly --it's in the third movement --
the URL leads to a BBC page, there you have to click once more, on the left side down aways --you'll see the label --
Among pop music, the better a song, the longer it takes to get it. After one or two listens, a typical R&B or C-W piece is understood. More complex stuff, like from progressive rock acts, takes a while longer to grok.