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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.

Welcome to LivingPianos.com, I’m Robert Estrin. Today we have an important topic: How to avoid destroying your piano. While we’ve discussed many things you should do for your piano, today we’ll focus on what to avoid. Some of these tips are common sense, but others might surprise you.

Avoid Hot Air Vents

Placing your grand piano over a hot air vent or near one can cause significant damage in just a few months. The dry air can warp and crack the soundboard, making the piano a total loss unless you opt for expensive repairs. Always ensure that your piano is not in the path of a hot air vent.

Stable Temperature and Humidity

Maintaining a stable environment is crucial for your piano. Extreme temperature swings can affect tuning stability, while high humidity can cause rust and corrosion. Conversely, very low humidity can dry out the pin block and felt parts, leading to a noisy action and other issues. Aim for 45-50% humidity, and use a hygrometer to monitor the levels. Consider using a room humidifier or a piano lifesaver system to keep conditions stable.

Protect from Sunlight

Sunlight can bleach your piano’s finish in a matter of months. It can also affect tuning stability if it shines directly on the soundboard. Even if you use window treatments to block UV light, it can still damage your piano. So protect your piano from direct sunlight to keep the finish looking new.

Regular Tuning

Pianos that haven’t been tuned for years will require multiple tunings to stabilize. Similar to changing the oil in your car, regular maintenance is essential. Neglecting this can lead to pitch issues and unstable tuning.

Avoid Furniture Polish

Using furniture polish on your piano can cause wax build-up that requires professional removal. For satin finishes, use a soft microfiber or cotton cloth. For high gloss finishes, a microfiber cloth with a bit of Windex works well.

Reshape Piano Hammers

Piano hammers can become grooved and hardened over time, leading to a harsh tone. They need to be reshaped periodically, but this should be done by an experienced technician to avoid damage.

Don’t Tune with Pliers

Using pliers to tune your piano can strip the tuning pins, causing severe damage. Invest in a proper tuning wrench or hammer, available on Amazon, and avoid makeshift tools.

Avoid Wood Stoves

Wood stoves can severely dry out a room, damaging your piano’s finish and internal components. If you must have a wood stove in the same room, use a humidifier to add moisture back into the air.

Beach Environments

Living near the beach can expose your piano to high humidity, leading to rust and corrosion. Use a string cover to protect the strings from excessive humidity if you can’t keep windows closed.

Use Correct Parts

Replacing piano parts with incorrect ones, like using Steinway hammers on a non-Steinway piano, can severely affect the instrument’s performance. Always consult an experienced piano technician for the right parts.

Ivory Key Maintenance

Closing the fallboard over ivory keys can cause them to yellow. Keep the fallboard open to maintain the bright, white appearance of the keys. Dusting the keys regularly is sufficient to keep them clean.

Conclusion

These tips will help you maintain your piano in optimal condition. If you enjoyed these tips, consider subscribing to LivingPianos.com for more articles and resources.

Welcome to LivingPianos.com, I’m Robert Estrin. The question today is: Is playing practicing? Many of you who have watched my videos know that I have drawn a red line that should not be crossed. You have to know whether you are playing or practicing. And yet here I have this question: Is playing practicing? There’s actually a nuanced answer to this question. While it is absolutely essential that you know whether you’re playing through your music or practicing your music, there are times when you want to practice performing, whether it’s a public performance that you’re preparing for or you just want to run through things for friends to see how they go. But what we’re going to talk about today is something entirely different.

Playing can be practicing!

For example, when you play a performance, whether it’s a formal recital or just playing for friends, particularly if you record the event, going back and listening to what you did while taking note of what went well, what things maybe you need to work on, and insights you may have gained during the performance that you’d like to explore further, can be an invaluable experience. In that case, playing is practicing.

What is practicing?

Aside from the physiological aspect of strengthening your hands and learning how to negotiate passages, finger work, and chords, practicing is really a mental activity. Anything that involves a thought process about playing is practicing. So that’s an example where playing is practicing. How could you use this to your advantage? There are actually many ways. I talked about practicing performing. How do you do this? In your practice, there are two complete extremes. During a performance, no matter what, the show must go on. You have to keep going! Nobody wants to hear you stop and correct something when you’re playing for them. In a live performance, this could be a disaster. But even when you’re playing informally for family or friends, it ruins the whole experience for them. But in practice, you want to stop whenever there is an error to correct it and solidify it.

When is playing practicing? How do you achieve this?

It’s just as I described before. You do a practice run-through of a piece, and you don’t stop. Make it like a performance. You can even record it. It doesn’t need to be a great recording. You just want to have something you can listen back to with the score. Maybe circle trouble spots in the score. Take notes as you listen. This can be an incredible experience for strengthening your performance. And indeed, this is an aspect where playing can be practicing. But normally, remember that red line. Practicing is on one side, and playing is on the other. And they are diametrically opposed. In playing, you want to keep going no matter what to maintain the continuity of the performance. In practice, you generally want to stop to make corrections and solidify. Double check the score, work through the passage, connecting it with the previous passage, getting that secure, then going back to the beginning and seeing if you can pass all of the trouble spots. So that’s the lesson for today! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Store.

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 LivingPianos.com, I’m Robert Estrin. Today I’m going to present to you ways of practicing the first movement of Schumann’s wonderful Kinderszenen, or Scenes from Childhood. This is a glorious set of pieces that is accessible to people who are not necessarily on a virtuoso level of technique, and yet it is an absolutely stupendous piece of music! It’s a whole series of small movements, so you don’t have to take months to learn each one, and you don’t have to learn all of them. You can just learn select movements. I’m going to focus today on the very first movement: From Foreign Lands and People. It presents a unique challenge that you’ll find in other pieces. So what I’m going to show you here is not just for this movement. It covers a lot of things you can apply to many pieces of music!

A piece like this can be challenging using my usual practice method.

Any of you who follow me probably already know how I practice and how I teach how to practice, which is to memorize first. After reading the piece maybe 2 or 3 times, I get right to work, taking very small phrases, memorizing the right hand with all the details, memorizing the left hand with all the details, and then putting the hands together, going on to the next section and connecting. A piece like this has challenges when using this approach. First of all, I want to just play it for you so you can hear what the piece is about, and then I’m going to show you what challenges this piece has with the way I’m talking about practicing.

Watch the video to hear the music!

So I usually take two or four measures at a time, learn the hands separately, and then put the hands together. Then I move on to the next phrase. But the problem is, just like with a fugue, you have a middle voice, and it’s divided between the hands. At the beginning, you basically have a melody and a bass part. It’s a nice duet. But then you have a middle part that is divided between the hands. So if you try to learn the hands separately, it doesn’t make much sense. You end up with that middle part being bisected.

It makes much more sense to learn the inner voices as chords.

You really want to learn the melody and the bass, and then the middle part. It’s almost like you have three hands there in those three individual parts. Once you learn the three parts, (melody, bass, and chords), you can play the hands separately. But you want to understand that the three parts are basically a trio. Now I’m going to give you a bonus tip here.

How do you get that middle line to be quiet?