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.
Check out the performance and practice videos linked below, and thanks for joining me here at LivingPianos.com — Your Online Piano Resource.
