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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.

Introduction

Welcome to LivingPianos.com. I’m Robert Estrin, and today I am excited to share one of my favorite pieces to teach: “The Farewell” by Burgmuller. This piece is part of a collection I have previously covered in detail. You can find the links in the video description if you want to explore more of Burgmuller’s works.

Performance and Breakdown

Before diving into the tutorial, I will perform the piece to give you an idea of what it sounds like. “The Farewell” is a beautiful piece that doesn’t require a virtuoso technique, making it great for many players.

Detailed Tutorial

Introduction Section

The first measures are distinct, featuring a warm, melancholy tone that transitions into rousing triplets. The key to this section is to play extremely legato, especially on repeated notes by changing fingers.

Right-Hand Technique

Pay attention to the rise and fall of the phrase, which mimics natural speech patterns. This brings life to your music. Change fingers to maintain legato, especially on repeated notes. One finger should rise as the other descends, with no arm or hand movement to achieve a smooth legato.

Practice Tips

-Use a metronome to find a secure tempo, even if it’s slow.
-Raise previously played fingers high enough to avoid overlapping notes.
-Focus on accents, slurs, and crescendos from the beginning.
-Reduce complex passages to chords for easier learning.

Memorization

I recommend memorizing the piece early in the learning process. This approach saves time and ensures accuracy from the start. Refer to my videos on memorization methods linked in the description.

Key Changes and Sections

The piece follows an A-B-A form with an introduction and a coda. The middle section shifts to C major, with triplets in the left hand instead of the right. Practice each section methodically using metronome speeds. You can also use techniques like accents, rhythms, and note groupings to build fluency.

Middle Section

Focus on maintaining balance between the melody in the right hand and the accompaniment in the left hand. Use the weight of the arm in the right hand to get the melody to break through, while using minimal finger motion in the left hand to avoid overpowering the melody. By using the weight of the arm, you get the power you need to bring the melody to the front, and you can achieve a flowing line that rises and falls.

Coda

The coda features new material, distinct from the previous sections. Practice legato thirds in the left hand and ensure smooth transitions.

Final Tips

-Use the wrist for forte dynamics and decrescendos.
-Practice small sections with metronome speeds.
-Employ different techniques to ensure evenness and fluency.

I hope you find these tips helpful in learning “The Farewell” by Burgmuller. Feel free to leave any questions in the comments.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you how to create beautiful melodies. And what melody is more beautiful than Clair de Lune by Debussy? I’m going to show you how to approach this piece, but this will apply to almost any melodic music you play. There are countless techniques you can employ on Clair de Lune, but today I’m going to show you something I learned from many years of living with my wife, Florence Estrin, who is a magnificent flutist. The way she uses the air in order to capture the phrase and to have a melodic line that carries the listener is something that I’ve literally lived with for decades. I want to share it with you because it translates to piano playing.

Having experience with a wind instrument, singing, or even a bowed instrument can be enlightening for a pianist.

After all, you’re playing a percussion instrument and trying to get a melodic line is a great challenge. You can better understand what’s involved playing a melody on an instrument that’s capable of a sustained line. So I’m going to play Clair de Lune for you now, just the beginning part, and then I’m going to explain what I’m doing to create this beautiful singing quality to the melody.

Watch the video to hear the demonstration!

Clair de Lune is such a gorgeous piece. Being in rhythm on this is vital to capturing the mood. The worst mistake you can make with Clair de Lune is to take too slow a tempo and not holding the long notes long enough. The rhythm is not what you might think it is. If you count it, try to count with the very slow dotted quarter notes as the beat since the beat is divided into three eighth notes most of the time, but sometimes Debussy writes two eighth notes to the dotted quarter note. What I’m going to talk about today is creating a flowing line. It’s not just about giving more energy to higher notes, just like you would naturally do with your breath when you’re singing or playing a wind instrument. It’s also about elongating those top notes just a little bit. It’s like how you use a little bit more air on higher notes if you were playing it on the flute and giving a little bit more time on those notes. I hate to use the word time because it really isn’t a rhythmic technique as much as it is filling up the sound, akin to the air on a wind instrument or when singing.

Without doing this, you don’t get the same feeling of serenity.

Take a little bit more time with those long notes. It’s very subtle because if it’s done too much, it would create rhythmic distortion, which would ruin the melodic line. But instead, it’s visualizing in your mind the sound that would be created if this was played on a flute or was an aria sung by a great singer to get that flowing line. You want to fill up those high notes, like you would naturally do if you sang such a melody.

Try this with all the melodic music you play!

I want you to try this, and not just with Clair de Lune. It’s not just about getting louder towards the higher notes, but making sure you ride over the crest of the phrase. Enjoy those high notes a little bit longer so that they can live on and give a nice expansiveness to your musical line. Let me know in the comments how this resonates with you! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Welcome to Living Pianos. I’m Robert Estrin. In this article, we will be discussing the single greatest
challenge in playing the piano. There are many aspects to playing the piano, such as playing with both
hands, playing multiple parts, playing fast, and playing scales, arpeggios and repeated notes. However,
there is one aspect that is the Achilles heel of piano playing, and that is the envelope of the sound
produced by the piano.

The Piano’s Sonic Characteristics

If you listen to just one note played on the piano, what do you hear? You hear a sharp attack, a quick
decay and a slow, quiet sustain that gradually decreases in volume. This presents a major challenge for
playing the piano since it is difficult to play melodies which imitate the human voice. After all, the human
voice is the original musical instrument of all time! Wind instruments have the benefit of using breath to
create musical lines. Violins and many other string instruments have bows to sustain notes. But on the
piano, in order to overcome this limitation, you must master the art of illusion!
How to Create the Illusion of a Continuous Line on the Piano
One of the techniques for creating a singing line, or sustained line, is to use the weight of your arm. The
arm has weight and, by using it as an analog to the breath, you can create a smooth line. You can
transfer the weight of the arm smoothly from note to note, rising and falling like the breath, with more arm
weight in the middle of the phrase, and less arm weight in the beginning and end of a phrase. This
technique can be enhanced with the use of the pedal. But before we discuss this, let’s talk about
something I refer to as, “The Phantom Pedal.”

The Phantom Pedal

The Phantom Pedal refers to the use of finger technique to hold down notes with your fingers instead of
relying upon the pedal. This allows you to sustain notes with your left hand while adding emphasis to the
melody notes in your right hand with the pedal. This creates a much more sustained melody, without the
risk of creating clashing harmonies or muddy sound.

Bonus Tip