Practicing Böddecker's Sonata sopra "La Monica" by
Terry B. Ewell. Practice advice for the meter change in Variation 3.
BDP #344. 2reed.net
[music: Ewell's version of the opening to Böddecker's Sonata]
Well, it is the meter change that is particularly the adventurous and
daring part of the composition. This is without a doubt the most
brilliant part of the composition and one that merits special attention.
In order to explain what is happening let’s take a look at the
“La Monica” melody as presented in the piano part. The
pulse for the melody must stay the same in both sections. It is the
divisions of the pulses that change for the melody.
Let me play the first melody for you on the piano and count out the
subdivisions. I will add the metronome as well, to make sure I am
counting it correctly.
So, this is measure 46. This is set for the half note at metronome marking 30.
[music with counting]
Simple enough, right? Well, let’s go to measures 70 to 76 with the meter changes. I again set the metronome.
OK, OK, so you have that now. There is a little bit of complexity added
there for your violinist or in this case your pianist. But that macro
beat, the beat of the half note stays the same.
Well, here is the complication of the second melody where the
subdivisions and the pulses change from two to three with the bassoon
part. Alright, so let’s go ahead and start in measure 70.
[music: the bassoon part starting m. 71]
Well, that was sort of close. Forgive my arthritic fingers in dealing
with that passage. But I hope you can see that the simplest way to
master this is to work with it over and over with the metronome, with
the transitions and get a feel for it. It is so
difficult—these subdivisions. But this is what you need to do in
that place.
So, I have created some practice files that will help you with that.
https://2reed.net/bdp/bdp_baroque.html#Boddecker
[music: Ewell's version of the opening to Böddecker's Sonata]