STUDY

Section

Key

Measures

|| : A : ||

I – V

1 – 8(1)

Bridge 1

V

8(2)-16(1)

B1

V

16(2)-24(1)

Bridge 2

V

24(2)-32(1)

Section

Key

Measures

A

I

32(2)-40(1)

B2

I

40(2)-48(1)

Bridge 3

I

48(2)-56(1)

Coda

I

56(2)-64

Articulation and Dynamics

  • Notice the RH mixture of Staccato, Legato, Tenuto and Accents
  • Notice the dynamic plan

RESEARCH

Listen to How…

  • the opening descending scale figure in 6/8 meter creates momentum
  • Section B livens the movement with its scherzo character of cross-hand movements with grace notes.
  • Coda plays around with Tonic – Dominant to create a strong sense of Finale.

Historical Context

  • Listen to the Entire Sonatina Op. 168 No. 1.
  • Hear How the entire Sonatina works together and the Contrast of the Moderate – Slow -Fast movements complement each other.
  • Read about the Classical Rondo form ABA, ABACA and other variations. Compare how this movement fits in.

PRACTICE

Approach

This piece may be learned in sections.

From the very beginning, start counting as 1 + a 2 + a rather than 1 2 3 4 5 6.

Warm-Up

Play the F and C major scale, arpeggios, and chords prior to each practice session.

LH broken and blocked chords

Practice all broken chords as blocked

Once opened, use subtle wrist gestures to play such that there is hand weight transfer on the not being played.

Where blocked chords are used, use a wrist gesture on every measure, so that the tone is controlled and never over-powering.

Grace Notes

    • practice playing both grace note and main note together
    • Now release the grace note a little earlier, till almost instantaneous
    • Now try to play the grace note slightly before the main note

This method was suggested by Christopher Norton

ARTISTRY

Technique

All chords must be played with ½ depth touch.

Each RH slur and staccato scales must have a < and >.

If the Grace notes become inarticulate, use the above practice method to warmup

For such fast pieces tell my students to practice the entire piece staccato once daily as warm up so that clarity is maintained and fingers don’t become clumsy.

Artistry

Aim to achieve brilliance in this piece

Think of the 8 bar phrasing.

Bring out the scherzo character in the B (mm 9-16). Think that the treble and bass are having a conversation, a rather humorous and mocking conversation,

Save the last bit of dynamic edge for the Coda playing around with V and I. Always think in 4 bar chunks.

It may be wise to count in longer cycles of 4-bar groups as 1 -2 – 3 – 4 so that the bar lines don’t interrupt the flow.

Interested in Lessons?