 Now we will talk about some technical aspects and maybe how to solve some problems. And the first problem here from the point of technique is just in the first line and it is this. Why? It is just the range of a hand. You have to play a ninth and not all the pianists who are able to play this sonata wonderful are able to have this range at the beginning. But you have, please show it. Maybe play one bar before and play it with both hands. It looks so easy. And well, what could we do if we play it and we cannot reach this? It's just not only the ninths which has to be played but also the voices within. Normally, and I knew a lot of pianists and I had it in some courses where they just play an arpeggio. Also in other parts of Beethoven where such things happen. But I wouldn't do it because we have this for Tato. It should be a strong and excellent and it's like in an orchestra the chord should be together. My proposal would be to leave out a note. I know this is, well, one can discuss and one can be very angry about this. But listen. The C one which is missing. But you have the chords together. I would prefer this solution. But it's just a proposal. I know we should never leave out a note in Beethoven's composition. But here it would be the solution for a small hand better than an arpeggio. This is the first one. But this has nothing to do with technique but with the range of the hand. The next problem is I think the trill. Can you just show it? And the problems there is you have to play the trill with four or five. And you have to hold the other notes. And which of course is a tension for four and five. And I think one of the solutions you could practice would be take a little pedal and leave the notes. So then you have these notes you have still there. But four and five are a little bit more free. Can you try this? Just for demonstration because you can do the original. Yes. And then of course if you really want to practice it as a student my advice would be really practice trills with four and five. We later need it also in the last Beethoven sonata. So you can take a fifth. And then in other keys you play it with four or five. And this would be a kind of good preparation for this moment. And also to play a trill with four or five and hold the other notes of the chord. Yes. And then in D sharp and so on. Yes. Yes. And maybe also have more range in the chord. Maybe you play like this. But such things there is no secret. You must practice it. Learning by doing. And well also we have to discuss which kind of expression you want there. How many notes we have? One could imagine with five notes. Like a doppelschlag. Can you show this? Yes. Why not? Especially when it comes at the end. The next step would be seven like you do. Can you show it? And if you want to play a virtuoso trulla you can do even with nine notes. I think there it is too much. Because we have this kind of dolce cantabile andante. I would prefer five notes. And well if you try and try and try and it doesn't work with four or five. Of course you could also do this. You take a pattern. And then you change here. Two three or two four whatever. And then here you have a small jump. But I think if you are a young pianist and you want to study this. Just study four and five. And have in mind seven notes. Can you show it again? Then the next one. You told me where is your most difficulty. Please show us. Say it in Japanese. The jump in time. And the jump without accent. Can you show us? I think this is perfect. Because I think one should not try to be completely in tempo. Because if you then you get the accent on the D flat. And it's still a relaxed variation. And it's andante. So I think there is no use to hurry up. Just take the time. Can you do it again? Wonderful. And if you want to practice such a jump. I think it is sometimes very helpful if you do the difficulty even more difficult. So do the jump with two octaves. Can you show? Yes. This is a thing which you can also use in several etudes. Instead of... You play one octave more. Like this. And then the rest is easy. Okay. So let's see the next thing. Well, these are the big jumps in the third variation. Second variation. Sorry, can you do just this one? Yes. And my proposal for this would be first also play hands separate. And then for example do such exercises. Two octaves jump in the right hand. Can you try? Yes. And do in the left hand. Such things. And also you can take out some bars and play in double tempo so that it is really difficult. Maybe can you just do this? Very fast. Wonderful. So also here you could play exaggerated difficulty with the two octaves jump. And then this one. The scale in staccato from sforzato going down to pianissimo. Can you just play? Yeah. Again. Yeah. And my advice would be if you practice scales do exactly what happens here. We have a staccato, a sforzato and then followed by a decrescendo. So you do this. Yes. But staccato until the end. Very good. And then also in parts. One more and one more. Can you try? Good. Good. Good. Good. Then the next thing is here with the melody. Can you just play it? Here I would also take out the difficulty. Mostly play such things in C major that you have just white keys and don't have to think about black keys. And maybe play an octave trill. And also practice this trill with the crescendo and decrescendo. Sometimes here we have also a second finger. So you could do the same with a second finger. Well, an octave is too, five is too difficult, but... And then, well, second movement, we have the thirds. And the fingering of Mare Pereira, I think it's just perfect. It really works. Can you try? And can you show it very slowly? Well, one has to see there is a written legato, but I think the approach should be mostly kind of martellato to bring it out. Can you show? Yes. And here also I would practice two notes, then two, three, four and five. Can you show this? There I have a proposal which is not written in the fingering, but I would do a kind of cross fingering here. Three, two, three, one, two, four, two, four and one, five. Which you can use, for example, in C major sonata, opus two. Look at this. And then three, two. Over with three, two. Yes. Try it first. Yes, it works. And to prepare this, you can play a scale, five, one, three, two. So this is just a proposal if somebody isn't happy with a fingering which is written there, but I think it's perfect and you do it perfect. Okay. Then here at the end I think very important to have a kind of martellato sound, very strong to reach the fortissimo, and so it should be a little bit like this. So if you practice this, really exaggerate. So you practice a scale and you do this. Even with a little pedal. Very good. Very good. Then we have this kind of in the funeral march, and I think you have to help a little bit with the arm. Yes, this is the proposal, five, two of Maré Pereira. I would use five, one. But it's important that you have this crescendo. And then, well, I think this is difficult. In both hands, this semi quavers. Can you just show it? I would practice it always holding the upper melody. Can you try? And then also play it with relaxed notes, leggero. Yes. And of course you can take out such a... You could do this. It can go over the whole keyboard. Can you just take it in C major? You can start very slowly, and then do two fast. Yes. And so I would go on and on, two, three, four. Then you have it. And after C major, do it in other keys, and then it will work. And here we have a beginning piano, the moment we mentioned in the other session, which is kind of inspired by the patetique sonata. But here I think the touch is really... that you don't have a legato. Something like this. Very good. And of course then with a little bit pedal and crescendo to the forte. Can you try? Very good. Then also a problem is to hit the sforzatti. The scale starts with a sforzatti, which normally doesn't happen, but he writes it. So can you just show it? For this I would practice the scales also like this. Then it will work, I'm sure. And the end, the farewell, it must disappear and pianissimo. So at the end here... Yeah, and I think for this it's also very important, such touch that it's like you're cleaning the keyboard from dust. You don't do anything. So if you do a technical program every day, you have to always change the articulation. Play legato, play legero, play staccato and change the dynamics. Play pianissimo, completely relaxed and play as loud as possible. But the trail at the beginning, the jumps and the sforzatti here are some difficulties, but they are possible to solve and you do it. Thank you very much.