Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com. I’m Robert Estrin. You hear concert pianists playing trills that sound jewel-like, and you might wonder: how can you achieve this in your own playing? Today, I’m going to share three simple techniques that can make a big difference in how your trills sound and feel.

1. Use Rounded Fingers

One of the easiest ways to improve your trills is to play with rounded fingers. If you try to execute trills with flat fingers, you’ll quickly notice how difficult it becomes. That’s because flat fingers limit you to using only one joint. By rounding your fingers, you engage all the joints, which provides more control and flexibility. This one change alone can dramatically improve your trills.

2. Measure Your Trills

This tip is essential: measure your trills. Trills might sound like a flurry of random notes, but I guarantee you that the trills you admire are carefully measured. Knowing exactly how many notes you’re playing in a trill allows you to execute them cleanly and land on the correct ending note.

Take, for example, the famous C major Mozart Sonata, K. 545. At the end of the exposition—and again at the end of the movement—there’s a trill that must resolve cleanly. How is that accomplished? By counting out the notes in advance. The good news is you don’t need to play a lot of notes. You can even play 16th notes and still have a beautiful trill. The key is consistency and precision. Remember, trills are a form of expressive license. As long as you’re playing the correct notes, you have flexibility in how many you use. Just make sure it’s intentional and measured.

3. Choose the Right Fingers

The fingering you use for trills makes a huge difference. One common fingering is 3-2, which is strong and reliable. But if you want the strongest possible combination, try using fingers 3 and 1. That pairing provides excellent strength and control. Of course, depending on the passage, you might not always have the luxury of choosing your ideal fingering. Sometimes you’ll need to use 2-4, which is less optimal, and in some rare cases, 5-4, which is the most difficult trill fingering. Five and four are both weak fingers, and trilling with them takes a lot of practice. You might find yourself using 5-4 in contrapuntal music, like a Bach fugue, where other fingers are needed for notes in a lower voice. If possible, stick with 3-1 or 3-2. Some pianists even alternate between the two during longer trills. Try them out and see what works best for you.

Bonus Tip: Lighten Up

Here’s one last little tip: lighten up when playing trills. If you try to use arm weight, you’ll find it incredibly difficult to sustain a clean trill. Instead, feel as though you’re hovering lightly over the keys. Let your fingers do all the work, and you’ll find that your trills become more fluid and effortless.

Let me know how these tips work for you in the comments here at LivingPianos.com and on YouTube. Thanks so much for joining me, and to all you subscribers out there. Let’s keep the discussion alive!

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to explore how Beethoven fundamentally transformed classical music. And that’s no exaggeration. When you listen to the music that came before Beethoven and compare it to what came after, there is a noticeable shift. That shift, in large part, was due to Beethoven’s revolutionary musical language. Let’s break down how he did it.

Expansion of Form

One of the most striking things Beethoven did was expand the structure of classical works. In the Classical era, sonatas and string quartets by composers like Mozart and Haydn typically had three movements, and sometimes only two. Beethoven certainly wrote many three-movement works, but he also made four-movement structures the norm in many of his later compositions, often by adding a minuet-trio, typically a scherzo third movement.

But it wasn’t just about the number of movements. Beethoven also expanded the movements themselves. For example, in the sonata-allegro form that typically opens sonatas and symphonies, there’s usually a repeated exposition, a development section, and then a recapitulation. Beethoven’s development sections—especially in his later works—took on a life of their own, reaching dramatic and expressive heights that earlier composers hadn’t approached.

To illustrate this, let’s consider the development section of a late Mozart sonata, the C minor Sonata K. 457. This is a powerful work for its time, and the development section is substantial and intense. But when you contrast it with even an early Beethoven sonata, like the G major Sonata Opus 14 No. 2, the difference is striking. Beethoven extends the development far beyond expectations, introducing new ideas and transformations that push the boundaries of the form. And this is just an early work—his later sonatas go even further.

Deceptive Cadences: The Element of Surprise

Beethoven also introduced unexpected harmonic shifts that were rare in the music of his predecessors. One of the most effective tools he used was the deceptive cadence. This is when you expect a musical phrase to resolve in a familiar way—typically to the tonic—but instead, it takes a completely different direction. For instance, in the development section of the Opus 14 No. 2 Sonata, Beethoven sets up a resolution, but instead lands on an A-flat major chord—completely out of left field. This kind of surprise grabs your attention and creates a sense of drama that Mozart rarely employed in the same way. Mozart’s modulations are beautiful and clever, often leading you to a slightly unexpected place that feels just right. But Beethoven often pulls the rug out from under you, taking you somewhere you never saw coming. Another stunning example can be found in the development of Beethoven’s D major Sonata, Opus 10 No. 3. The movement begins in D minor and suddenly you’re in B-flat major. It’s a jarring, brilliant moment that showcases Beethoven’s flair for the unexpected.

Sudden Dynamic Contrasts

Another hallmark of Beethoven’s style is his use of sudden dynamic changes, particularly subito piano, which means “suddenly soft.” These moments often follow a crescendo, building intensity and then abruptly dropping in volume. It’s a powerful expressive device that Beethoven used frequently. In the third movement of the Opus 10 No. 3 Sonata, for example, Beethoven builds energy only to suddenly drop the volume, creating tension and release in unexpected ways. Even in the lyrical first movement of the famous Moonlight Sonata, Beethoven includes not one but two subito piano markings. These are not to be taken lightly. They are deliberate, and they bring out the emotional nuance of the music. Ignoring them would be a disservice to the music’s intent.

The Birth of Romanticism

Beethoven’s innovations in form, harmony, and dynamics laid the groundwork for the Romantic composers who followed. His ability to expand development sections into full emotional journeys, to use harmony and dynamics in ways that surprised and moved the listener—these were all departures from the classical ideals of balance and restraint. Composers like Schumann, Mendelssohn, and Brahms would not have written the music they did without Beethoven paving the way. This is the true genius of Beethoven: he pushed the boundaries of the classical forms he inherited, infusing them with an emotional depth and unpredictability that changed the course of music history.

Thank you all for joining me. Again, I’m Robert, and this is LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Have you ever heard someone play the piano and every chord just sounds beautiful? Whether they’re reading written music or improvising, the chords seem rich and perfectly balanced. Yet when you try to do the same, the chords might sound cluttered or harsh. Why is that? It turns out, the secret to beautiful-sounding chords lies in something deeply rooted in nature: the overtone series.

What Is the Overtone Series?

The overtone series is the natural phenomenon that gives sound its color and character. Any musical sound—whether from a piano, another instrument, or even a non-musical source—contains more than just its fundamental pitch. Overtones are additional pitches that naturally occur above the fundamental note. They’re what give sound its richness, just like how a color is often made up of many different shades. A pure sine wave with no overtones sounds flat, lifeless, and boring. When overtones are present, the sound becomes full and musical.

You can even observe overtones on the piano. By silently pressing a high C key (lifting the damper without making sound), and then firmly playing a lower C, the higher string will begin to vibrate sympathetically. This demonstrates that the higher C is part of the overtone series of the lower C.

The Pattern of Overtones

The overtone series begins with notes that are far apart and gradually get closer together. Starting from the fundamental tone, each successive overtone comes closer in pitch to the next. After a certain point, the overtones are separated only by half steps. This pattern is crucial because it explains why some chords sound better than others. When chords are constructed in a way that aligns with the spacing of the overtone series, they naturally sound pleasing to the ear.

Spacing Is Everything

Here’s where this becomes especially practical for piano players. Chords voiced with wide spacing between the bass and the upper notes tend to sound much better than chords that are clustered closely in the lower registers. For example, if you play a chord in the left hand using tightly packed notes, the result is often muddy and unpleasant. But if you space the bass note well below and place the rest of the chord in the right hand, the result is far more pleasing. This principle isn’t just for improvisation or modern styles. It has deep roots in Western classical music.

The Influence of Bach and Western Harmony

Western harmony, as we know it, evolved from vocal writing, particularly in the chorales of Johann Sebastian Bach. These chorales consistently show that the bass note (the lowest note) is spaced significantly below the upper voices. This spacing mirrors the overtone series and results in a resonant, clear sound. Even in simple tunes like “Happy Birthday,” when chords are voiced with space between the bass and the upper notes, the result is much more satisfying.

Beethoven and Beyond

This approach to chord voicing is not limited to Baroque music. Take, for example, the second movement of Beethoven’s Pathetique Sonata. When the arpeggios in the left hand are reduced to block chords, you can see how Beethoven employs the same concept. The bass notes are separated from the other tones, allowing the chords to breathe. This is a continuation of the harmonic principles established through centuries of musical development, rooted in the overtone series.

Applying This to Your Playing

Whenever you play chord progressions, remember to space your chords so that the bass note stands apart from the upper notes. Let the right hand handle most of the chord tones, especially when supporting a melody. Whether you’re playing simple triads or complex harmonies, this approach creates a much more rewarding and musical sound. Compare this to playing everything close together in your left hand and it usually results in a cluttered mess. Giving your chords room to resonate in line with the overtone series is key to making your playing sound professional and beautiful.

A Universal Principle

This concept of voicing chords according to the overtone series isn’t limited to classical music. From Bach to Beethoven and into contemporary styles, it’s a universal principle of good voice leading and harmonic balance. By understanding and applying this natural spacing, you can dramatically improve the sound of your chords. I encourage classical players to study their scores and observe how often composers use this technique. It’s everywhere, once you start to notice it. Thanks for joining me. I’m Robert Estrin, and this is LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re exploring an important question for anyone beginning their piano journey: What is the ideal first piano? You might wonder if it should be an upright, a digital, or something else entirely. Well, my answer may surprise you.

The Ideal Piano in a Perfect World

If we’re talking about the ideal first piano, the answer is a nine-foot concert grand — something like a Steinway or another high-end brand — placed in a concert hall. Why? Because playing on such an instrument sets you up for success in so many ways. Just like learning to drive in a large vehicle can make driving anything else feel easier, starting on a concert grand piano makes transitioning to any other piano seamless. The rich, rewarding sound, the fluid touch, the precision of the action — all of these elements encourage playing and make practice enjoyable. It’s incredibly motivating. Too often I see parents hesitant to invest in a quality instrument. They buy a cheap or poorly maintained piano, the child hates the sound and feel, and soon loses interest. Then the parents say, “Good thing we didn’t spend the money.” It becomes a self-fulfilling prophecy.

Why a Concert Grand Isn’t Always Practical

Of course, a concert grand in a concert hall isn’t realistic for most people. Aside from the cost, there’s the matter of space. Even if you could fit one physically into a room, the sound might overwhelm the space without proper acoustics. A nine-foot piano needs room to breathe. So, what’s the next best thing?

Grand Piano

A full-size grand piano, though smaller than a concert grand, gives you much of the same responsiveness and tonal quality. For many homes, this is the best balance between playability and practicality. You get that rewarding action and sound without the excessive volume of a concert grand.

Baby Grand Piano

If a full grand is too large or too costly, a baby grand can still offer a very good playing experience. The action is similar to a concert grand in design, though slightly scaled down. This is a strong option for a dedicated beginner or intermediate student.

Tall Upright Piano

A tall upright piano can be a great instrument as well. In fact, some tall uprights have better sound than baby grands! However, the actions on uprights are slower than on grand pianos since hammers go up and down on grand pianos and sideways on upright pianos. Grand pianos have quicker repetition and more nuanced control. Uprights, with their sideways-moving hammers, can’t match that level of responsiveness. This becomes noticeable as students progress, particularly with repeated notes, trills, and fast passages.

Also, the pedals on uprights don’t all function like those on grand pianos. The sustain pedal on the right is the exception and the one beginners use most. So, for early learning, a tall upright in good condition can be very close to ideal.

Console Piano

Shorter upright pianos, like consoles, can still be serviceable for beginners. They don’t offer the best sound or action, but they may provide an affordable option. If you go this route, just be sure it’s in solid condition. A poorly functioning piano of any type can hinder progress.

Hybrid Pianos

Hybrid pianos are an excellent solution for many players. These instruments combine digital sound with a real grand piano action in a more compact cabinet. While they don’t replicate the full experience of an acoustic instrument, some offer incredibly realistic feel and sound for a much lower price and smaller footprint. And they can be played with headphones.

The Absolute Minimum: 88-Key Weighted Action Digital Pianos

If you’re looking for the bare minimum instrument to study piano seriously, it’s a digital piano with 88 weighted keys. Anything less simply won’t develop finger strength or technique properly to play other pianos.

Unlike other instruments like the violin or clarinet, pianists can’t bring their own instrument with them. You’ll encounter many different pianos at lessons, performances, and rehearsals. If you’re used to an unweighted action, you won’t be prepared to handle standard acoustic pianos.

Some digital pianos also feature “graded” actions, where the lower keys are heavier than the higher ones, mimicking acoustic piano mechanics. While this is a nice touch, it’s not essential. A good weighted action is far more important than whether or not it’s graded.

Choosing a Digital Piano

When shopping for a digital piano, go in person if possible. Stores like Guitar Center or your local music retailer often have a range of models to try. Brands like Yamaha, Casio, Roland, and Kawai all make quality instruments starting at a few hundred dollars.

An added bonus of digital pianos is the ability to use headphones, which can be very convenient for shared living spaces. They also interface with music software, opening doors for creative and educational tools.

Final Thoughts: Bigger Is Better (Usually)

So, what’s the order of ideal instruments for a beginner?

• Concert grand (in a concert hall!)
• Grand piano
• Baby grand piano
• Tall upright
• Console upright
• Hybrid piano
• 88-key weighted action digital piano

If you can at least provide a well-maintained tall upright, you’ll be giving yourself or your child a strong foundation. It will sound and feel good, and make practice more enjoyable, setting the stage for success.

Welcome to LivingPianos.com. I’m Robert Estrin. If you’ve watched my videos, you know I’m not a big fan of doing endless exercises. In fact, I often suggest turning your music into exercises. That approach can solve many problems while also solidifying the pieces you actually play. But today, we’re going to talk about four essential exercises that can elevate your piano playing. Anyone serious about playing the piano should include these four things in their practice routine. You’ll get tremendous benefits from them.

1. Scales

It’s not just about playing scales. It’s how you practice them that makes the real difference. Did you know that it’s much harder to lift fingers off the keys than to push them down? I’ve demonstrated this many times. Try it yourself. You’ll notice, especially with your fourth finger, that cleanly lifting it is more difficult than pressing it down. The best way to develop control is with slow practice, raising your fingers deliberately while keeping your hands relaxed. Use only your fingers, not your arms. Let the power come from the fingers themselves. As you practice slowly, keep your thumb tucked under in advance of when it needs to play. This is crucial for fluid thumb crossings. For example, in the right hand, the thumb should be tucked under the whole time except when it plays. This preparation avoids awkward movements when playing fast. The same principle applies in reverse for the left hand. Focus on raised, rounded fingers, with no up-and-down arm motion. You’ll start to feel strength and independence building in your fingers through this deliberate approach.

Interestingly, slow practice builds more muscular benefits than fast playing. Do four repetitions slowly at a tempo like 60 BPM, or whatever is comfortable for you. Once you’re confident, move on to two notes per beat, then four notes per beat. At faster speeds, lighten up and stay close to the keys to develop fluency. There’s no time to raise your fingers at that pace, so listen carefully for evenness and consistency. There are many ways to vary your scale practice, such as changing the phrasing, articulation, or dynamics. But before exploring those variations, it’s essential to first master the fundamentals. Learn all the major scales thoroughly and with intention.

2. Arpeggios

Arpeggios are just as important as scales, and they’re practiced in a similar manner. One complication with arpeggios is that thumb crossings are wider, so you might run into issues where your hands feel cramped or awkward. Just like with scales, tuck the thumb under in advance, but also incorporate a slight hand rotation. This lets you avoid raising your shoulders or adding unnecessary tension. Your right hand rotates slightly as the thumb passes under, and in the left hand, it’s the same idea in reverse. Always prepare the next note in advance.

You can also break down arpeggios into shorter groupings, which can help develop control and accuracy. There are many ways to approach this, and I’ve made plenty of videos on the subject. If you visit LivingPianos.com and type “arpeggios” in the search box, you’ll find a wealth of material to explore!

3. Developing the Wrist

Finger technique is only part of the story. Your wrists are also instrumental in piano technique, particularly for staccato, octaves, and chords. One of the best ways to train the wrist is with a simple exercise in thirds, using just the wrist for motion. It’s important to isolate the wrist from the arm. The arms are heavy and clumsy and simply can’t move fast enough. The goal is to identify and isolate wrist motion. In the exercise, your arms should not move up and down. Instead, let the arms guide your hands over the correct keys, and strike from above with a quick, sudden motion from the wrist. If this is new to you, you’ll feel it in your forearms. These are muscles you don’t typically use, so that’s a good sign. However, if you find yourself using the whole arm to generate motion, stop. That’s not the technique you’re going for.

This might seem like a simple exercise, but it’s all in the execution. Just go through this routine a few times a day and you’ll be amazed how much it helps with control and clarity in everything from staccato to dense chordal passages. When you see someone playing crisp staccato or powerful chords with ease, much of that control is coming from proper wrist technique. Take a piece like Beethoven’s “Waldstein” Sonata, which is filled with repeated chords. If you try to play that with your arms, you’ll tire out quickly and lose articulation. Wrist technique allows for speed and lightness, which are critical in such music.

4. Octaves

The final exercise is octaves. This builds directly on the wrist technique we’ve already explored. This uses the same wrist principle but adds the strength of the hand’s arch. Why is the arch important? Because it equalizes the power between the strong thumb and the weaker pinky. Without the arch, your thumb would dominate and the sound would be uneven.

Start with a metronome at 60. Strike from above with the wrist, preparing each octave position in advance. Be sure to keep your second finger curled. That maintains the structural integrity of the hand. Use the wrist to balance the pinky and thumb so both land evenly. If you don’t do this, you’ll get a heavy, uneven sound where the thumb overpowers everything. Relax your shoulders and focus all the motion in the wrist. Imagine bouncing a ball. The energy comes from a quick, natural release, not a forced push. If you try to play octaves with your arms, you’ll quickly hit a wall with speed and stamina. The wrist allows for quick, fluid motion and prevents fatigue. Do as many repetitions as you can while maintaining proper form. Over time, this will dramatically improve your endurance, clarity, and control with octaves.

These Are Four Essential Exercises

Spend just a few minutes on each of these every day and you’ll see real improvement in your playing. Learn all the major and minor scales and arpeggios, and take your time. There’s no rush. You have a lifetime to enjoy the piano and develop your artistry! Thanks for joining me here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Recently, I had the pleasure of visiting the Piano Performance Museum in Hunter, New York, right in the heart of the beautiful Catskill Mountains. This incredible place is filled with historic keyboard instruments, from harpsichords and clavichords to early pianos that composers like Mozart, Clementi, and Chopin would have known. In this video, I take you on a tour through music history, playing many of these remarkable instruments. Some even have a personal connection to my own family, which made the experience all the more special. It’s an unforgettable journey through the evolution of the piano, and I’m excited to share it with you!

The Piano Performance Museum is nestled in this small mountain village, and provides a walk through piano history featuring instruments from the harpsichord through to the modern piano. There were some remarkable surprises in store for me and you can get a glimpse of this fascinating place by watching the accompanying video.

The first that hit me were the very first two instruments you see upon entering: a 2-manual Taskin French model harpsichord and a Stein fortepiano. These instruments are incredibly familiar to me since they are the same instruments I toured with in my Living Piano: Journey Through Time: Historic Concert Experience! These are the only replicas on the floor. The dozens of other early pianos (going back centuries) are all original instruments. What makes this museum so special is that almost all of the pianos are in good playing condition, and if you are a pianist, you are welcome to play them! This really aligns with my Living Piano show where I always invited the audience up to the stage to play the instruments after the performances.

What was an incredible shock was that on the adjacent wall at the entrance was a huge showcase with hundreds of intricate miniature pianos with a sign, The Diane Estrin Miniature Piano Collection”. I had no idea that my aunt had this incredible collection and bequeathed them to the museum. My Aunt Diane studied piano at Juilliard as well as with my father.

Aside from a collection of dozens of pianos going through piano history from square grands, to straight strung pianos, magnificent art-case uprights and grands, through to modern concert grands; the museum also houses a performance hall and a movie theater with regular live events featuring period piano performances. They also host piano concerts at other venues throughout the region.

So, if you are ever going to be in the area, call ahead and make a reservation to visit the Piano Performance Museum. It is a unique experience that will heighten your appreciation of the development of the instrument we know and love, the piano.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re exploring the third and final movement of Clementi’s Sonatina in C major, Opus 36, No. 1 — one of the most iconic beginner-intermediate pieces in the classical piano repertoire. This lighthearted, energetic movement offers a great opportunity to refine your technique, articulation, and dynamic control, all while experiencing the elegance of Classical style. Even if you haven’t studied the earlier movements, there’s a lot to gain from understanding the approach to this final section. Let’s dive in.

Feel the Beat in One

The third movement is written in 3/8 time, which often confuses students. Instead of feeling three separate eighth-note beats per measure, you want to feel a single beat — one per bar. This gives the movement the lively, dance-like character it needs. If you count all three beats, it can drag and feel clumsy. Aim for a tempo where you’re thinking of each measure as one pulse. That mental shift alone can breathe energy and flow into your playing.

Articulation and Dynamics

One of the challenges of this piece is that, like many Classical-era compositions, the score may lack detailed markings for articulation and phrasing. Clementi didn’t write in slurs, staccatos, or dynamic contrasts consistently, because it wasn’t customary at the time. That doesn’t mean the music should be played mechanically. It’s up to you to bring the music to life. Think of the implied phrasing and consider where it makes musical sense to shape the line. Staccatos, dynamic contrasts, and subtle tempo shaping are essential for giving the piece its charm and clarity. For example, if you play every note with the same touch and volume, the piece quickly becomes dull. But if you emphasize the melody in the right hand and allow the left hand to stay in the background, suddenly the musical lines start to sing. This contrast is especially important in Classical music, where the clarity of texture is everything.

Dynamics: Let the Right Hand Lead

In this movement, and in much of the Classical repertoire, dynamic expression should come primarily from the right hand, which usually carries the melody. If you apply equal dynamics to both hands, the melody can be buried under the accompaniment. When playing louder (forte), let the right hand carry the intensity, while the left hand provides rhythmic and harmonic support without overpowering. This careful control creates the light, transparent sound characteristic of the Classical style.

Crisp Staccato is All in the Wrist

One of the most important technical tools in this movement is staccato — short, detached notes that create a buoyant, playful texture. The key to achieving a clean staccato is using the wrist, not the arm. If you use your arm to play staccato, the result is often heavy and sluggish. It also limits your speed and control. By isolating the motion in the wrist, you get a lighter, quicker response that’s much more stylistically appropriate for this music. This technique applies not just to Clementi, but to composers like Mozart, Haydn, and early Beethoven as well. The wrist provides the agility needed for the elegance and precision of Classical articulation.

A Broader Application of Technique

The technical and musical principles you apply in this sonatina are not limited to Clementi. These are foundational concepts that can be carried into a wide range of Classical literature. Take Mozart’s Sonata in C major, K. 545, for example — another cornerstone of student repertoire. In that piece as well, a light touch, clear voicing, and quick wrist staccato make all the difference in capturing the graceful style. If you try to muscle through it with heavy arm movements, the character is lost. In fact, once you start applying proper wrist technique and thoughtful dynamic control, you may find that even difficult passages become more manageable. The music becomes more expressive and less physically demanding, because you’re playing with the right mechanics and musical intention.

Refining Your Craft Through Clementi

The third movement of Clementi’s Sonatina in C major is more than just a fun finale — it’s a valuable study in articulation, balance, and Classical style. By feeling one beat per measure, shaping phrases with dynamics, and mastering light wrist staccato, you can bring out the joyful energy of this music. Best of all, the techniques you learn here will continue to serve you in a wide range of classical pieces. So take your time, listen closely to your sound, and enjoy the elegance of this delightful work.

Thanks for joining me here at LivingPianos.com, Your Online Piano Resource. See you next time!

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re continuing our multi-part series on How to learn and play Clementi’s Sonatina in C Major, Opus 36, No. 1. This article focuses on the second movement, a lyrical contrast to the vibrant first and third movements. More than just learning the notes, we’ll explore how to elevate your performance to a high expressive level.

This is the second in a four-part series, which includes an in-depth look at each of the three movements, as well as a complete performance of the work.

A Stark Contrast from the First Movement

The second movement is a complete departure from the bright energy of the first. Where the first movement features crisp staccato, lively fingerwork, and dynamic contrasts, the second movement introduces a gentler, more introspective mood and tonal palette.

An important tip when performing this piece: between movements, don’t lift your hands from the keyboard. If you do, audiences may mistakenly think the piece has ended and applaud prematurely. The three movements together create a greater artistic impact than each one alone. So keep your hands on the keys, transition directly, and let the music flow seamlessly.

The Hidden Challenge of the Second Movement

Though slower and more lyrical, this movement is arguably the most difficult of the three. Why? Primarily because of the balance between the hands. Here’s the issue: high notes on the piano fade more quickly than low notes. On top of that, the left hand often plays two or three times more notes than the right. If you play both hands at equal volume, the melody in the right hand will be lost under the busier bass. To correct this, the left hand must be extremely light, almost feather-like. Keep your fingers close to the keys and use minimal effort. In contrast, the right hand melody requires more weight from the arm to sustain notes and create a singing line.

The Importance of Tempo

The movement is marked Andante, which means ‘a walking pace.’ It should feel relaxed but not drag. Playing it too slowly causes the melody to lose shape and energy. A slightly quicker tempo helps the melody connect more naturally, especially given the fading quality of the higher notes.

Breathing Life Into the Phrases

All the phrases in this movement — and in most lyrical classical music — need to rise and fall dynamically, just like the natural inflection of speech or breathing. Without this shaping, the music sounds robotic. Think of each phrase as a musical breath: a gentle swell followed by a natural relaxation. This gives your playing vitality and emotional impact. To achieve this, use your arm weight in the right hand and transfer it smoothly from note to note. Don’t try to calculate the volume of each finger. Instead, feel the line as a whole and let it breathe.

Simplifying the Trill

There is a trill early in the movement, and it’s a common stumbling block. Don’t feel compelled to play a large number of notes. Instead, simply play two notes for each triplet eighth in the left hand. This sounds elegant and musical without overcomplicating your technique. Later, if you gain confidence, you can embellish further by playing more notes. But keep it simple at first. Trills offer creative license. They don’t require a set number of notes. What matters is musicality and flow and to decide how many notes you will play.

Connecting Repeated Notes

A particularly challenging aspect of this movement is dealing with repeated notes, which are hard to play legato since the same key must fully release before being played again. To solve this, you must change fingers on repeated notes and lift previously played fingers high. For example, going from finger 5 to 4 on the same note, the 5th finger must lift high above the key before repeating the note. If the previous finger doesn’t lift sufficiently, the connection will be broken and sound detached. This technique allows you to create a smooth, singing line, which is crucial for expressive playing.

No Pedal Required

It’s possible — and preferable — to play this entire movement without using the pedal. This forces you to develop finger control and clarity. The pedal can easily muddy the texture and mask weaknesses in legato technique. By learning to control your phrasing and legato with your hands alone, you’ll develop a much more refined touch, and a deeper connection to the music.

Phrasing and Rhythmic Nuance

When you encounter dotted rhythms, be mindful of their precise placement. For instance, a sixteenth note following a dotted eighth should not fall exactly halfway between the beat. It should come slightly earlier. Getting this rhythmic placement correct adds grace and authenticity to your playing. Incorrect placement can make the phrase sound awkward or stiff.

Playing Repeated Notes in Thirds Smoothly

In one passage, you encounter repeated notes in thirds, making finger changes impossible. Instead, make sure you stay close to the keys and let the keys return fully between repetitions. This technique is subtle but essential. It allows you to maintain smoothness even when technical options are limited.

Shaping the Final Phrases

Toward the end of the movement, you’ll find phrases that taper off dynamically. Don’t rush these just because the measure “looks” shorter. Each measure takes the same amount of time, regardless of how many notes it contains. Also, don’t let the final notes stick out. Begin with enough sound on the longer notes so you can naturally decrescendo into the phrase ending. If the long note is too soft to start with, you won’t be able to taper off, and the last note will pop out unnaturally.

Thumb Repetition and Legato

At one point, you’ll have to play a sixth interval with the thumb on two consecutive notes. Since it’s impossible to connect a thumb to itself, don’t try to force a legato between those bottom notes. Instead, connect the top notes and let the bottom be slightly detached. That way, the melody still flows. This is a common technique in piano playing — connecting what you can, and releasing what you must, while maintaining the illusion of complete legato of all notes.

Dynamics: It’s About Tone, Not Volume

Even in soft passages, you can use generous arm weight to produce a full, projecting tone. Piano doesn’t mean lifeless or weak. If you’ve ever heard a flute or oboe solo marked piano in an orchestra, you know it still carries throughout the hall. The same applies to piano playing: dynamics are relative and expressive, not measured by a decibel meter. So don’t be afraid to use more sound than you think you need. A rich tone is essential to communicating the line, especially in a performance space.

Repeated Techniques Throughout the Movement

Throughout the movement, you’ll encounter repeated note patterns again. Apply the same techniques. Change fingers when possible, lift previously played fingers, and shape the phrase with rise and fall. Eventually, the first theme returns, giving the movement a sense of unity and closure.

Skills You Can Use Across Classical Music

This lyrical second movement offers a wonderful opportunity to develop your expressive playing and technical control. Everything you learn here applies not only to the other movements of this sonatina, but also to a wide range of classical repertoire — from other Clementi works to Mozart, Haydn, Beethoven, and beyond. The principles of balance, phrase shaping, and touch are universal. I hope you find these insights helpful in your own practice. I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Resource.

Sonata-Allegro Form Overview

The first movement is in sonata-allegro form, which is the most prevalent structure in Western classical music. It’s used in countless sonatas, symphonies, string quartets, piano trios, and more by composers like Mozart, Beethoven, Schumann, Shostakovich, and Brahms.

Here’s a quick overview: it’s essentially an ABC structure.

• A – Exposition: This introduces two contrasting themes. The first is in the tonic key, C major. Then comes the second theme in the dominant key, which is five notes above the tonic — in this case, G major. You’ll know the exposition ends because it repeats.
• B – Development: Here, the two themes are developed and transformed. In Beethoven’s works, development sections can become epic, but in Clementi, and even in Mozart and Haydn, they are generally more concise.
• C – Recapitulation: The original themes return, but this time both are in the tonic key so it ends where it began.

In this piece, both the development and recapitulation also repeat. This was common practice in Mozart’s sonatas, though Beethoven later moved away from this, often repeating only the exposition.

How to Interpret the Score

I’m working from an urtext edition, which means the only markings are those that Clementi himself wrote. There are fingerings, some dynamics, but no slurs or staccatos. Does that mean everything should be played evenly with no articulations? Absolutely not.

In Clementi’s time, composers didn’t include every articulation or expressive marking the way Romantic and later composers did. Instead, performers were expected to interpret based on style and context.

Without any articulations, it would lose its spark. Classical music relies on clarity of line, which is achieved through articulation.

Technique: Articulation and Tone

To get that crisp classical sound, you’ll want to use staccato from the wrist, not the arm. The arm is too heavy and awkward, while the wrist provides the right amount of bounce and clarity.

Left Hand: Hover slightly over the keys with a gently bent wrist. Drop down and bounce right back up, using only the wrist.

Right Hand: Here, you’ll encounter slurs leading into staccatos. The technique is down on the first note of the slur, then up on the staccato note. When combined at tempo, it creates brilliance and contrast.

Interpreting Dynamics

This piece does include dynamics, which is helpful because many earlier works (such as Bach’s) generally didn’t have any written dynamics.

When learning the piece, exaggerate the phrasing and dynamics while playing slowly. As you speed up, dynamics tend to diminish, so over-exaggerating early on helps lock in the musical intention and supports memorization through muscle memory.

I recommend using a metronome and learning all phrasing and dynamics from the very beginning. Once your fingers are used to playing a certain way, it’s incredibly hard to undo later.

Practice Tips for Tricky Passages

One of the more challenging spots is the passage in thirds at the end of measure six. The first part is a simple G major scale, but the thirds require solid fingering.

• Practice in two-note groups to internalize the fingering.
• Then do hands together the same way.
• Add a crescendo leading up to the forte for musical shape and energy.

Once you’ve isolated the difficulty and achieved fluency, you’ll be able to bring it up to tempo smoothly.

Tremolos and the Development Section

The second section has a tremolo around the fifth measure of the development. The key to tremolo is rotation of the hand, not finger movement alone. Rotation is efficient and effortless, while using just the fingers causes tension and fatigue.

Apply the same techniques throughout the second half of the movement: wrist staccato, strong finger legato, and careful dynamic shaping. As you gain speed, lighten your touch, stay close to the keys, and let the arms guide motion rather than pressing down on each note.

Gaining Speed with Metronome Practice

If you’re struggling with speed, first get your playing completely secure at a slower tempo. Then increase the tempo one notch at a time.

You don’t need to move the entire piece notch by notch. Instead, focus on the challenging passages. This targeted approach makes metronome practice far more efficient.

Solidify your foundation and everything else will fall into place. Slow, methodical work upfront pays off tremendously in the long run.

Coming Up Next…

Stay tuned for Part Two, where I’ll cover how to approach the second movement, which presents a whole new set of technical challenges.