(38) Outlining, Beethoven's Sonata #1, Op. 2-1

Outlining is a method for accelerating the learning process by simplifying the music; it works for HS, but is used mainly for HT practice. It allows the pianist to maintain the musical flow or rhythm, and to do this at the final speed almost immediately. This enables musical practice long before that segment can be played satisfactorily at speed and facilitates the acquisition of difficult technique by teaching the larger playing members (arms, shoulders) how to move. The simplifications are accomplished by using devices such as deleting "less important notes" or combining a series of notes into a chord. The original music is recovered by progressively restoring the simplified notes. Whiteside describes outlining on P. 141 of the first book, and P. 54-61, 105-107, and 191-196 of the second book, where several examples are analyzed.

For a given passage, there are many ways to simplify the score, and students using outlining for the first time will need some practice before they can take full advantage of the method. Advanced outlining can get far more complex than what students can manage and will need a teacher's help. However, everybody must eventually develop the ability to outline without help.

One idea behind outlining is that, by getting to the music first, the technique will follow more quickly because music and technique are inseparable. Outlining can also be used to increase the precision and improve the memorizing.

Easy methods of outlining are (1) deleting notes, (2) converting arps into chords, and (3) converting complex passages into simpler ones; this is where music theory comes in and can get complicated. An important rule is: although the music is simplified, retain the same fingering that was required before the simplification.

For HT outlining, simplify one or both hands so that you can play them HT easily, then gradually add the deleted material. Note that outlining is an extremely useful skill for sight reading.

Let's apply outlining to Beethoven's Sonata #1 (Op. 2, No. 1). I noted in the book review that Gieseking was remiss in dismissing the 4th movement as "presenting no new problems"in spite of the difficult and fast LH arpeggio (Prestissimo!). He probably didn't know how to solve problems using parallel sets and so could not give instructions. Let's complete the wonderful job Gieseking did in getting us started on this Sonata by making sure that we can play this exciting final movement.

The first four triplets of the LH can be practiced by using parallel sets applied to each triplet and then cycling. Parallel set #1 is useful here; it is one type of outlining (simplifying the triplets into chords). The first triplet in the second bar can be cycled using the PS 524. The continuous 524 cycling strengthens the weak 4th finger. When the 4th finger becomes strong and under control, add the next note, 5241, then practice the PS 1235. TO is required everywhere. Then practice the ascending arpeggio of bar three, 5421 PS, then 542131. Practice the ensuing descending arpeggio using the same methods.

The RH is simple, you can use the rules for practicing chords and jumps [(34) Fast Octaves, Small/Big Hands]. So far, everything is HS work.

Use outlining to practice HT. Simplify the LH and play only the beat notes (first three bars): F3F3F3F3|F3F3F2E2|F2F3F3F3, with fingering 5555|5155|5155. These are the first notes of each triplet. When this outline is mastered HS, start HT practice. Once this HT becomes comfortable, adding the triplets will be easier, with much less chance of incorporating mistakes. Since these arpeggios are the most challenging parts of this movement, by outlining them, the entire movement can be practiced at any speed even if you cannot manage these fast triplets.

In the RH, the first three chords are soft, and the second three are forte. In the beginning, practice mainly accuracy and speed, so practice all 6 chords softly until this section is mastered. Then add the forte. As in all Beethoven compositions, following the dynamic (volume) markings is absolutely essential. To avoid hitting wrong notes, get into the habit of feeling the notes of the chords before playing them. For the RH octave melody of bars 34-36, be sure not to play with any crescendo, especially the last G. The entire Sonata is played without pedal. In order to eliminate any chance of a disastrous ending, play the last 4 notes of this movement with the LH, bringing the hand into position well before it is needed.

There are many ways to outline; the LH triplets can be played as chords, or as PSs. This can allow you to practice HT at the stage when you are still practicing the PSs. Use outlining as a method of last resort because it can consume a lot of time; it is often not necessary if you know all the other methods of this book.