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 “lessons” 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.
Practice & Performance Tips:
I. Allegro This movement has three sections: an exposition, a development and a recapitulation. It is very important to know where these sections start and end, before you start practicing them.
EXPOSITION The exposition starts in measure 1 and ends in measure 15. Write the word “EXPOSITION” on the top of m. 1. This exposition, as in many sonatas, has two themes.
The first theme is in the tonic. If you group the notes together in the first measure, they form a C-Major chord. Notice that the notes in this first theme form descending lines. Circle all the C-Major arpeggios then play them as a chord (blocked) using the correct fingering. Notice that the notes in m. 6 form a C-Major chord but it is inverted!
Circle the rests marked on the bass clef. They are as important as the notes in between them and help one give more rhythmic vitality to their playing. Play the left hand lightly. This bass line should support the melody without overshadowing it.
The second theme is in the dominant (G Major). Make sure that you play the G Major scale in m. 8 and m. 10 with the correct fingering. Notice that the notes in this second theme... Sign up for a Gold membership to read the practice tips.
I'm on Grade 4 in piano and I'm planning on playing this piece as one of my choice pieces at the end of the year and I'm just wondering that seeing as it has 3 movements if you would actually classify the 3 movements as one piece? Or should I just play one of the movements?
Piano is 1920s vintage Kurtzmann upright. Recording is done with a small external mic, and a Windows computer running Audacity.exe .
I am taking the repeats. So part A is played twice, and part B is played twice.
Later, I will post the second and the third movements of this Sonatina by Muzio Clementi; Opus 36 Number 1.
Here again I am my own worst critic however professional comments are indeed welcome.
BTW the mic is placed at right angles to the piano, and to the right side and slightly behind the piano bench, as viewed from pianist sitting facing piano. It is also at about knee height.
I've been studying the first movement for 2 months now. I can play separate hands with no problem at speed, but with both hands i simply can't do it even at half speed. It is such an easy piece. Am baffled as to why i can't play it despite practicing and memorizing.
I'm confused. I'm looking at the Clementi Sonatina #1 in two different sheets, and there are major and significant differences. For instance, in the sheet available on this site, in the 3rd movement it shows the melody going up an octave on the fifth bar, whereas on two other sheets, it shows this "echoing" phrase is just louder, not higher. Likewise, it looks like the whole 2nd movement is an octave higher on the right hand.
What's the story? How did Clementi actually write it? Jumping an octave isn't some minor dynamic point, which an editor might feel free to mess with. These are different notes. Anyone know which one is accurate?
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Muzio Clementi - Sonatinas :
Piano score: PS Instructive - all parts (376 kB) 
Sonatina Op. 36 No. 1 1st mvt - FREE SAMPLE (mp3 file) 
