This sonata may be a very convenient piece as an introductory teaching material for transitioning from sonatinas to sonatas. The technical demands are not overly difficult. However, there is much to learn. This is an early work by Beethoven, composed during a period when he was heavily influenced by Haydn. Nevertheless, Beethoven's distinctive style is already clearly evident in this sonata.

To teach this sonata, the following points must be explained to the student:

1. Direction

All music inherently possesses a sense of direction. This must be taught.

2. Background

The underlying context of Beethoven's music.

3. Dynamic Characteristics

The distinctive dynamic features of Beethoven's compositions.

Let us explain each point in turn. First, regarding point 1, Direction. Music invariably moves towards a destination. Within a piece, there are points of highest tension, and subsequently, within each section and phrase, there are areas of increasing and decreasing tension. For instance, starting from measure 1, the initial goal is measure 7. It begins with p, and ff is indicated at measure 7. Therefore, the sense of moving towards measure 7 must be conveyed throughout measures 1-6.

Music lacking direction invariably becomes flat and unengaging. Both tension and release are lost. Measures 1-8 are particularly suitable for learning about direction. Measures 1-2 constitute one phrase, while measures 3-4 are a sequence of measures 1-2, meaning the same melodic contour ascends. When comparing measures 1-2 with measures 3-4, it is evident that measures 3-4 exhibit higher tension. Observing measures 5-6, both are excerpts solely from the latter half of measures 1-2.

For example, imagine someone delivering a line of dialogue. Measures 3-4 are more emotional than measures 1-2; however, when only the crucial part of measures 1-2 is extracted and repeated twice (measures 5-6), it signifies a heightened emotional state, as if repeating only the most important part of the dialogue twice. And then, measure 7 is reached.

By the way, you may have noticed that in the two phrases of measures 5-6, as well as in measures 2 and 4, the beginning of the beat is marked by a rest. Please look at measure 95 onwards. Up to measure 100, the downbeat of the first beat is not a rest. This creates a very calm and stable feeling psychologically. Incidentally, try playing measures 2, 4, 5, and 6 by ignoring the rests and placing the subsequent chords directly on the downbeat. It becomes very stable, doesn't it?

In other words, it is precisely this quarter rest that causes the increase in tension. Even at the climax in measure 7, the quarter rest appears at the beginning of the beat. When a rest appears at the beginning of a beat, it creates a strong sense of intensity. Understand this and perform with that feeling.

Next, let's discuss point 2, Background. Beethoven's music has an instrumental background. String quartets and orchestras were always in his mind; thus, even when composing for piano, instrumental textures were consistently present in Beethoven's thoughts. Perform with this in mind. Please look at measures 11 through the first beat of measure 20. This section is precisely a string quartet passage.

Many students' performances of this section tend to be mechanical and vertically segmented. However, consider measure 11, for example: the soprano part in the treble clef as the first violin, the alto part as the second violin, the tenor part in the bass clef as the viola, and the bass part as the cello. For instance, in the bass clef, only whole notes are written from measures 11-14. When played on the piano, naturally, an attack occurs on the downbeat of the first beat. If this were played by string instruments, what kind of sound would it produce? It would be a smooth, horizontally flowing sound with absolutely no attack. Considering all four voices in this manner, it becomes clear that the placement of whole notes merely indicates a change of pitch, not a point for attack.

Up to measure 20, be mindful that a string quartet is continuously sounding; therefore, play without any attacks, avoid vertical segmentation, and allow the music to flow horizontally. It is precisely in this section that students should be made to listen to an actual string quartet during lessons and encouraged to imitate its sound.

If one performs measures 20 onwards with such a concept in mind, then for example, in measure 22, the half note D-flat in the left hand resolves to C on the next beat; therefore, no accent should be placed on the C, and its volume should be reduced compared to the D-flat.

Similarly, in measure 26, if one imagines the three eighth notes in the right hand being played by a violin, it becomes clear that the third note should not be accented. Then, maintaining tension, enter the crescendo at measure 31, reaching the goals at measure 33 and measure 37 respectively. Measure 47 is also a goal, so play from measure 42 with a sense of direction, aiming towards measure 47.

Next, let's discuss point 3, Dynamics. Beethoven was a composer who greatly favored sudden dynamic changes, often referred to as subito dynamics, where the music abruptly shifts from forte to piano or vice versa. Please look at measure 54. This is a point that has been approached with a sense of direction since the beginning of the development section at measure 49. Therefore, the first note of measure 55 should be played forte, aiming for the loudest sound, but forte-piano is indicated there. It immediately becomes p. Such abrupt dynamic shifts are characteristic of Beethoven's style. There are many such passages throughout the piece.