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Muzio Clementi

Sonatina in C: First Movement

op 36 no 1

About
“Your ticket to the world of piano sonatas”
This sonatina by Clementi is an excellent opportunity to get acquainted with classical sonata form. It has everything that a
piano sonata should have, but in a smaller scale, making it accessible to less experienced pianists.

The Op. 36 sonatinas are numbered in order of increasing difficulty, which means that this one has the most basic “les-
sons” on classical piano technique. The pianist gets a chance to practice the chords and scales of c major in an easy
format, but in a real context of musical artistry. Far from being a mere exercise for beginners, all three movements of this
sonatina are exquisitely crafted and can really grab the attention of an audience if well performed.

Preparatory Questions
1. This piece can be described according to classical sonata form. The first repeat presents the themes and is called the
exposition. The middle section uses the same material but tranforms it and uses the minor mode. This is called a develop-
ment section. The final part is called a recapitulation, because the themes from the exposition come back in their original
form. Write E, D and R in the appropriate empty boxes at the start of each section.

2. Together, the notes of the first bar form a triad. Which one?________________________

3. Which scale is played in bar 8?____________________Which scale is played in bar 31?_______________________

4. Which section is the only one where the left hand plays half notes and whole notes?___________________________

5. In bar 28, the main motif is inverted. What does that mean?_______________________________________________

Mastering the Piece Practice Plan

• Strong and steady rhythm, with a two-in-a-bar Session 1. Exposition, bars 1–4.
feel (alla breve).
Session 2. Exposition, bars 5-7.
• Clean articulation.
Session 3. Exposition, bars 8-11.
• Clear dynamic changes.
Session 4. Exposition, bars 12-15.
• Contrasting tone color in the development
Session 5. Development section. Bars 16-23.
section.
Session 6. Recapitulation, bars 24-34.
• Flowing and carefully phrased eighth-note pas-
sages in bars 12-14 and 35-47. Session 7. Recapitulation, bars 35-38

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Preparatory Exercises

Session 1: Bars 1-4

Begin by studying the fingerings carefully; read them out loud, while trying them out silently on a table or the piano lid.
Then play each exercise four times correctly. Always play slowly enough to be in full control.

Begin by practicing the movement's most important motif. Use the weight of the arm to put an accent on the first beat,
but don't stay heavy - make sure the thumb plays the g:s lightly.

œ œ œ œ œ œ
& œ & œ œ
2 4 2 4

1 œ. 2 œ. œ. œ.

{
œ œ œ œ
& œ œ
2 4

Note that the left hand c:s in the œ. œ. œ.

first two bars are only quarter
notes. Releasing them in time 3
? œ Œ Ó Œ Ó
will make this movement
œ
â2 â
springier and more fun.

Then practice the second part of the main theme, beginning with the end of the eighth-note run. Focus on smooth

ä ä
changes of hand position. (There are two in this short passage)

ä .œ œ
œ œ œ œ œ œ œ œ5 œ œ œ
5

& œœœœœœœœ œ
1 2

& œ
2 3 2 3 5
4 5

{ {
Add the left hand.

œ œ œ œ1 œ2 œ œ œ œ
& œ œ œ œ œ
4

Œ œ
5 2

&
œ œ œ œ œ
6 7
? œ Œ œ Œ ? Œ
2
œ œ
5 5 1

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Finish the first session by playing the first four bars with both hands. Play slowly enough to be able to play it through
four times without having to stop and restart too often. Note the new dynamic in bar 5 (piano).

. œ
œ
œ œ œ œ œ1 œ2 œ œ œ œ œ œ œ
5

œ œ œ œ œ
2 4

œ Œ
2

& œ. œ. œ.
p
f
œœœœ œ
8
? œ Œ Ó œ Œ Ó œ Œ œ Œ œ Œ

{
2 5 1

œ œ œ.
5

œ œ œ
œ. â
4

& œ
2 3

œ.
Session 2: Bars 5-7
The second phrase begins similarly to the
first, but is played in a piano dynamic.

â
œ
Clementi varies the main motif by a leap
p
? œ
to e in the right hand. (The c major chord 9
outlined by the motif is moved to root
position.) In the left hand the c is repeated Œ Ó Œ Œ
an octave up.
5 1

Practise bar 7 one hand at a time. Remember to study the fingerings first: Read them out loud and play them silently on
the piano lid.

Right hand: Left hand:

œ4 œ2 œ3 œ1 œ4 œ2 œ œ ? #œ œ œ œ
3 1 4 2 1

& œ #œ œ
œ œ2
10 11
2 1 3 1
5

{
Then play with both hands, but repeating every third in the right hand. This is like playing in tempo and at half speed at
the same time, and is a good way of easing into playing a tricky passage with both hands.

œ œ œ œ œ œ œ œ œ œ œ œ œ
3 1 4 2 1

œ œ œ œ œ œ œ œ
4 2 3 1 4 2

&
? #œ œ
12
Œ Œ œ Œ œ Œ Œ
œ
2 1 3 1
œ 2
5

{ { {
Now practice the passage as written, but only a small portion at a time.

œ œœ œ œ œ œ œ œ 1
& œ œœœœœ
3 1 4 3 1 4

& œ œ œ œ œ#œ œ
2 2
4 2 3 1 4 4 2 1 4 2 3 1 4 2

& œ #œ œ
2 3

? #œ œ œ œ ? œ œ ? #œ œ œ œ
13 14 15

2 1 3 1 3 1 œ œ 2 1 3 1 œ œ
2 2
5 5
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Finish session two by playing bars 5-8. Play very slowly. Can you add the crescendo to forte?

œ œ œ œ œ œ œ. œ œ2 œ3 œ1 œ4 œ2 œ œ
2 3 4 3 1 4 2 1

& œ. œ. œ #œ œ
16
? œ Œ
p
œ # œ
cresc.
œ
f
Ó Œ Œ œ œ œ
2 1 3 1 œ 2
5
Session 3: Bars 8-11
This is a classic example of so called Alberti bass, combined with scales and octave leaps in the right hand. Begin with
the left hand. Gently accent the bass notes F sharp and A, and play the other notes quite softly.

Left hand:

> pœ œ œ > pœ œ œ œ >œ pœ œ œ >œ pœ œ œ œ

17
? #œ œ 18
?
1 3 4 1 2
5

œ œ
Right hand:

œ œ #œ œ œ œ #œ œ
3 1

œ & œ œ œ
1

œ
1

& œ œ œ
3
1

19 20

For the octave leaps and staccatos, use arm weight for the thumb notes, then let the wrist bounce up when you play
the short and light top notes. Make the last staccato in each group the shortest and lightest.

œ. œ. œ. œ. œ. œ.
œ
& œ
1 1 1 1

21 & œ œ 22

{ {
œ. œ. œ.
Now practice the passage as written, but without the scales.

œ. œ. œ. œ
& œ
1 1

œ
1 1

& œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #œ œ ?
23 24

4 1 2 3

{
5 1 3 4

Add the scales, to make bars 8-11 complete:

. œ. œ.
#œ œ œ. œ. œ. œ œ œ œ
œ œ œ œ œ œ#œ œ
3 1 1

œ œ
1 1

œ
1 3 1 1

& œœ œ
œ œ œ œ œœœœœœœœ œ
? #œ œ œ œ œ Œ Ó
25
∑
5 1 3 4 4 1 2 3

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Session 4: Bars 12-15
The exposition finishes with a virtuoso eighth-note flourish in the right hand. Practice one bar at a time (exercises
26-28), then study the left hand carefully (29) before trying to put the whole thing together (30-31s).

œ œ œ œ œ œ1 #œ3
œ #œ3 œ2 œ4 œ3 œ5 œ œ œ2 œ4
5
3

& œ
1 2

26 27 &

&
œ4 œ œ œ1 œ5 œ œ œ 1

œ ? œ Œ œ Œ œ Œ Œ œ œ
28 29
1 5 1 œ œœ œ4 2
5 5
5

œ œ œ œ œ œ1 #œ3 œ2 œ4 œ3 œ5 œ œ œ2 œ4
5

œ
3
2

œ œ œ œ œ
1

œ œ œ ˙
1 5 1

30 &

{
#œ3 œ2 œ4 œ3 œ œ œ œ2 œ4 œ œ œ1 œ5 œ œ
5

œ ˙ Ó
1

&
? œ œ
31

Œ œ Œ œ Œ Œ œ œ
œ 4 2 œ
1 5 1 œ 5 5 5

œ4 œ œ œ ä b œ œ œ
.
& œ
Session 5: Bars 16-23 2 4

œ.
2

.
The development section again uses the 32
main motif but in the minor mode:

{ {
This is combined with long legato notes in the
left hand, creating a beautiful counterpoint
(independent melodic line): And legato quarter notes in the right hand:

b œ . œ5 œ œ bœ œ1 2 œ œ
œ
4

& œ œ œ. œ. œ œ œ Œ
2

∑ ∑ œ œœ
4

&
2

.
w bw ˙ ˙ ˙
? Œ ˙
33 34

? ˙ ˙ Ó
1 2 4 3 5

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In bars 20-21, the top notes of the left hand continue the melodic
line. Play these notes legato first to hear this more clearly:

˙ ˙ ˙ -œ -œ b -œ -œ
? ˙ œ ? œ œ œ œ -œ
35 36
1 2 1 2 3 1 2 1 2 3

{
Then add the repeated octaves. Try to be as relaxed as possible, and allow the arm to move laterally,
especially if you have a small hand. Don't overdo the legato, if you feel that this increases tension.

œ5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ bœ
œ œ œ œ
37 f
? ∑ ∑ œ œ
1 2 1 2 3

{ {
Note the right hand fingering for the last bar of this section. Starting with the fifth finger on f will make you land
comfortably with the thumb and fifth finger on the sixth (g and b) in bar 23.

ä œ
2 3 œ œ bœ 4 œ œ5 œ œ œ œœ Œ Ó
2 3 œ
5 5

bœ œ œ œ œ œ
& œ œ
1 1

Œ
4 5

&
? œ Œ œ Œ œ œœœœ œ
38 39
? ∑ ∑ œ

{
3 2 1 5 5
1

Now you are ready to try the whole development section with both hands. Play four bars at a time, four times
correctly. As always, play slowly enough to remain in full control.

. œ œ œ bœ œ1
& œ œ œ œ. œ. œ bœ œ œ œ œ œ œ œ œ
2 5
2 4 4 2

. .
p
w bw
40

? ˙ ˙ ˙ Ó

{
1 2 3 2 5

œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ
5
5 2

œ Œ Ó
2 3 4 5 2

& œ œ œ œ œ œ œ œ œ
f
œ bœ
œ œ œ
p
œ œ œ œ
41

? œ œ œœœœ œ
Œ Œ œ
1 2 1 2 3 2 1 5 5
1

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2 1 2 4 2 1 2 3

& œ œ œ œ.
Session 6: Bars 24-34

œ œ. œ
œ œ .
At the return of the main 42
theme in bar 24, Clementi
again varies it. To begin with, it
occurs an octave lower than at
the beginning. And a couple of
bars later, he simply turns it
upside down:

{ {
Then he adds a bar of resolute staccato thirds,
as a variation of bar 7 (exercises 10-14).

. . 1 2 1 2
& œ œ œ œ œ œ œ œ. œ œ
2 1 2 4 2 1 2 3 5 3 5 3 4 3 4 1

œœ & œœ œœ œœ œ œ
1

œ . . . . . . œ.
œ. ? Œ œ. Œ
43 44
? Œ Ó œ Œ Ó Œ œ.
œ 1 1 1
œ
. 2
5
5

The next section will not be a problem if you have done exercises 16-24. Bars 31-34 are exactly like bars 8-11 but in
the home key C major.

45
? >œ œ œ œ >œ œ œ œ œ 46
? >œ œ œ œ >œ œ œ œ œ
4
4 1 2 3
5 1 3

œ œ
& œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ
1 3 1 1 1 13 1

47 48 œ

{ {
1
œ. œ. œ.
1 1
œ. œ. œ. 1

& œ œ & œ œ
? œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ
49 50

4
4 1 2 3
5 1 3

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1
œ œ. œ. œ. œ œ œ œ. œ. œ.
œœœœœ
3 1 1

œ
1 3 1 1

œ
1

& œœ œ œœ œ œ œ

œ œ œ œ œœœœœœœœ œ
51
? œ Œ Ó œ œ œ œ œ Œ Ó
.
4
4 1 2 3
5 1 3

Session 7: Bars 35-38

The movement finishes with another eighth-note passage flourish in the right hand. Again practice one bar at a time
(51-53), then study the left hand carefully (54) before trying to put the whole thing together (55-56).

œ œ œ œ œ œ œ œ5 œ œ œ œ1 4
5
3

œ œ
2

œ œ œ
1 1

52 & œ 53 &

? œ Œ œ Œ œ Œ Œ
1 4 2 3 1

& œœœœœœœœ œ œ
4 2 3 1

54 55
œ œ
œ œ4 2 1 œ
2 1 5
5 5

œ œ
5
œ œ œ œ
5
œ3
œ œ œ
œ œ œ
2

œ
1 1 4 2 3

œ œ œ œ œ œ œ œ œ
1 1 4 1 4 2 3

& œ
1

œ
56

{
œ5 œ œ œ œ 4
œ œ
1 4 2 3

œ œ œ œ œ œ œ œ œ Œ Ó
1 4

& œ
œ
57
? œ Œ œ Œ Œ Œ œ
œ œ
œ œ4 2 œ
2 1 5
5 5

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Sonatina
Op. 36, No. 1

{
Muzio Clementi
PS Practice Score
Allegro

œ œ œœœ œ. œ œ œ œ1 œ2 œ3 œ œ œ5 œ4 œ
5

& C œ œ œ. œ.
2 4

œœ Œ
.
Use the weight of the
â â Focus on smooth
Accent the left
hand slightly when
f arm to put an accent changes of hand
it enters, but make
the right hand G
on the first beat, then position.
play the g:s lightly. light and short.

?C œ Œ Ó œ Œ Ó œ Œ œ Œ Œ œœœœ
â
2 Releasing these left hand quarter notes in time
œ
1
will make the movement springier and more fun! Keep the second half of the
bar light by making this C
shorter than the others.

{
Trying to hear two different voices in the
right hand here (E-D-C-B-A & C-B-A-G-F
sharp) will make this passage come alive.

œ #œ œ
5
œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
1

& œ œ œ. œ. œ
1
2 3 3 1 4 2 3 1 4 2

œ #œ œ œ œ
4 2

Make a big change to

p p, but keep accenting cresc. f

œ
the first beat in the

? œ Œ Œ #œ œ
new dynamic.

Ó Œ œ œ œ
Œ Ó
2 3 1 œ 2
Keep the quarter notes leading up to bar 5
8 quite short, underlining the crescendo.

{
Use arm weight for the thumb notes,
then let the wrist bounce up. Make

. œ. œ.
the last staccato in each group the

œ. œ. œ. œ œ œ œœœœœœœ
shortest and lightest.

œ
5

œ œ œ œ#œ
9 3

œ œ
1 1 1 2

& œ
œœœ œœœ œ œœœœœœœœ œ
? #œ œ Œ Ó â Œ Ó
â5 1 3
Gently accent the bass notes, and
4 1 2

play the other notes quite softly.

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Practice this eighth-note passage until you are able to play it in one long breath, subtly
growing when you go to the high points, and tapering off when the notes go down.

#œ3 œ œ œ œ œ œ œ œ4 œ œ œ œ5 œ œ ™™
13

& œ ˙ Ó

? œ Œ Œ œ Œ Œ œ ™™
1
œ
5 1 œ œ 4 2 1 œ Œ
œ œ
5

{
5 5

Note the legato slur beginning already on the

& ™™ œ œ œ œ. œ.
.
upbeat, and highlight it with a gentle accent.

œ œ œ bœ œ
16
œ bœ œ œ œ œ œ œ œ œ
2 5
4 2 4 2

. .
p
w bw
? ™™ ˙ ˙ ˙ Ó
1 Let the minor mode and the added 3
melodic line in the left hand inspire you to
find a new, softer color for these bars.

{
ä
Allow the arm to move laterally when playing these broken octaves, especially if you Note the fingering, which allows you to
have a small hand. Don't overdo the legato, if you feel that this increases tension. land comfortably on the sixth in bar 23.

œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ1
5
20

œ Œ Ó
2 5

& œ œ œ œ œ œ œ œ
f
œ œ bœ œ œ œ
? œ œ œ œ Œ Œ œ œœœœ
1 2 1 2 3 2 1
œ
5 1

In bars 20-21, listen to the top notes of the left hand

{
(F-D-E flat-C) that continue the melodic line.

This is the somewhat sneaking return of the main theme. Think about
what character Clementi might have wanted for this when he chose
24 to write it an octave lower than at the beginning, and in piano.

& œ œœ Œ
œ. œ. œ œ œ œ œ. œœœœœœœœ œœœ
œœ
p
.
? œ Œ Ó œ Œ Ó œ Œ œ Œ Œ
5 2
œ œœœœ
1

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{
Here Clementi turns the theme upside down.
Play the thirds resolutely,
Play these bars with even more good
with a firm hand.
humour and playfulness than the rest!

. œ. œ.
28
.œ 1 2 1 2 œ œ
2 1 2 3 44 3 4 1 21 1 2 3 5

& œ œ œ œ œ œ œ œ. œœ œœ œœ œ œ œ œ œ œ œ œ
œ . . . . . œ. œ
cresc. f

? Œ Ó œ Œ Ó œ Œ Œ œ Œ Ó œœœ œœœ
œ œ œ
œ 5 1 3

{
œ. œ. œ. œ œ œ œ œ œ
5
33
œ
& œ œ œ œ œ œ œ
3

œ
1 1 1 2

œ œ

? œ Œ Ó œ œ œ œ œ œ œ œ œ Œ Ó
4
4 1 2

{
Again, practice until you are able to play this eighth-note passage really flowingly, in one
long breath. Note the slightly different line contour and adjust your phrasing accordingly.

™™
36
œ5 œ œ œ œ 4
œ œ
1 4 2 3

œ œ œ œ œ œ œ œ œ Œ Ó
1 4

& œ

? œ Œ œ Œ œ Œ Œ œ Œ ™™
œ œ
œ œ4 2 1 œ
5 5

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