Introduction and General Advice

This sonatina is included in Zen-On's Volume 2, so some may be unfamiliar with it. Technically, it is a relatively simple sonatina, but depending on the performance method, it can become exceptionally beautiful. In elementary school music classes, we were likely taught that in 4/4 time, for example, the first beat is strong, the second weak, the third strong (but weaker than the first), and the fourth weak. However, in actual Western classical music, the first beat is almost never a strong beat. In many cases, the first beat is often the end of a phrase and is actually a weak beat.

Pedal Usage

As another hint, the pedal is essential for this sonatina. Please use the pedal, even if it means using an assist pedal. The result will be a world of difference.

Analysis of Opening Phrase (Measures 1-4)

Let's look at the beginning. It starts with two four-measure phrases. In measure 1, depress the pedal. Then continue to hold the pedal for a certain duration. As a result, the eighth rest in the left hand on beat 2 and the half rest on beat 3 of measure 1 will not be observed. Those who disagree have a point, but for the author, when considering this dolce and graceful melodic line, there is more of a sweet mood than a strict one, so I would use the pedal even if it means disregarding the rests.

The question then becomes how long to hold the pedal. I believe it's acceptable to hold it until around beat 4 of measure 1. Then, direct the line towards A on beat 3 of measure 2. Once A is reached, the line descends to H in the right hand on measure 3, even decaying. Therefore, as mentioned earlier, this H on beat 1 will be the weakest note.

Note on Finger Strength and Accents

As an aside, for learners who tend to accent the last note of such phrases, that last note is often played with the first finger. Since the first finger is stronger than other fingers, accents are frequently added. Be very careful.

Further Phrase Analysis (Measures 3-8)

Now, once the phrase descends to H, it then moves towards D in the right hand on beat 1 of measure 4, and from D, it descends to G on beat 3. However, when compared to measures 1-2, measures 3-4 have a calmer mood. I consider measures 1-2 to have stronger emotion, viewing them as the soloist's solo section, while measures 3-4 are considered to have a stable mood.

In this case, G on beat 3 of measure 4 is again the end of a phrase, and this note may also be played with the first finger, so be careful not to add an accent.

The second phrase, measures 5-8, is a phrase that expresses even greater emotional intensity compared to measures 1-4. When considering the left hand in measures 7-8, beats 1-2 of measure 7 are in an inversion, aren't they? This alone changes the sense of tension. By the way, measures 3-4 are in root position, so they sound stable. In measures 7-8, it might be an expression of an excited feeling, anticipating something.

While measures 3-4 end with a descending line, measures 7-8, in contrast, ascend further, reaching E in the right hand on beat 1 of measure 9. This is the highest note so far. From measure 8, thirds and sixths appear in the right hand, so exercise extreme caution to ensure that the inner voices do not become louder than the outer voices. Especially with sixths, the fingers responsible for the inner voice notes are often 1 or 2, and there is a tendency to apply too much force. Especially with finger 1, it is good to strike with a slightly floating sensation.

Analysis of Measures 9-13 (Left Hand Sixteenth Notes and Sequence)

The sixteenth notes in the left hand, starting from measure 9, should be played smoothly, lightly, and softly, taking care not to sound like a machine gun. Of course, using the pedal for these sixteenth notes is forbidden, so rely solely on the left hand's legato.

The phrase starting from measure 9 continues for five measures, until measure 13, with the same figure appearing like a sequence. What to note here is to never play these five measures at the same volume. As the figure descends towards measure 13, it is acceptable to consider measure 13 as the weakest. However, for example, when comparing measure 9 and measure 10, measure 10 has higher tension, so I do not at all deny the idea of playing measure 10 louder than measure 9.

Analysis of Measures 12-14 (Cadence)

For example, measure 12 can be interpreted as a measure that suddenly releases the tension built up until then. In this way, sensitively perceive the character of the chords and change not only the volume but also the color. Then, you arrive at the cadence in measure 14. In measure 14, be sure not to play stiffly; play the right hand pp and shape the left hand. And for sections like measure 14, the pedal is essential. Connect the right hand's thirds with the pedal so they don't break, but also don't become muddy.

Analysis of Solo Section (Measures 15-18)

Measure 15 is again the soloist's section. The accompaniment disappears. What to pay attention to in the first movement of this sonatina, and what may determine the quality of the performance, is this right-hand solo section. The key is how richly you can sing. Since there is no accompaniment, the trick is to sing freely and generously, even taking extra time. It goes without saying, but for example, in measure 15, the F# on beat 3 is the part that descended as H-A-G-F#. After that, it ascends to A again, so avoid accenting this F#. Consider it as two phrases: H-A-G-F# and A-G-E-D.

Analysis of Measure 19 and Development Section Introduction

Now, the prime example of the aforementioned caution (not to make the first beat a strong beat) is measure 19. In measure 19, forte is written for the first time in the Peters edition. Many learners immediately increase the volume upon seeing this, but the first beat of measure 19 is the end of the previous phrase, so do not accent it. It should end softer than measure 19. Observing the forte comes later, as you build up towards D on beat 4.

The form of this first movement is so clear that it hardly needs analysis. Consider measure 21 as the beginning of the development section.

Analysis of Development Section (Measures 21-24)

From measures 21-24, the same figure repeats four times, one measure at a time. Be careful not to play these four measures at the same volume. In the author's opinion, measure 22 is the resolution chord of measure 21, and measure 24 is the resolution chord of measure 23. Therefore, I suggest playing measure 22 softer than measure 21, and measure 24 softer than measure 23. While you are free to interpret this as you wish, I do not believe that measure 24 should be the loudest.

Further Analysis of Development Section (Measures 29 onwards)

From measure 29, it's again a solo section, and this time it's very busy. Measures 29-30, perhaps like a fast-talking opera singer? It's a very enjoyable part. In this development section, various emotions are intertwined. Measure 35 is symmetrical to the severe feeling of measure 32. Learners should use their imagination for each scene and express it. Do not play as if nothing happened.