Introduction and the String Quartet Concept

Although it is a simple sonatina of only one page, it is profound. The performance can vary significantly depending on the interpretation. First, when teaching students, explain the historical background of the era when this sonatina was composed (e.g., instrumental music being central, influence from Haydn). Furthermore, teach them what a string quartet is. Many children have seen a violin, but many do not know what a viola or cello is. Before starting the lesson, show them a string quartet on a video site and teach them the names of each instrument. Then, teach them that this sonatina was written with the string quartet as its background.

Interpreting the Left Hand: Polyphony and String Characteristics

Now, from this point on, we will address a very important topic for learning piano. If students do not know about string instruments or string quartets, and are unaware of this background, they might, for example, assume that the left hand in the first two measures consists of three attacks. Teach them that when string instruments change notes, no attack sound is produced at all. Taking the first two measures as an example, first, teach them that the line G-F#-G, written in the bass position, is played by the cello. And the line B-C-B above it is played by the viola.

Practical Application: Recording Individual Voices

It would be easiest if a cellist and violist were actually present, but that's not always possible. If you know a cellist, violist, or violinist, you might seize the opportunity to have them play just these first two measures for each voice and record it.

Understanding Polyphony and String Instrument Qualities

When you explain what the bass voice sounds like when played, and what the viola part sounds like, and then let them hear it, students will for the first time understand the flow of polyphony, which is fundamental to music. Furthermore, they will learn that these sounds have no attack, can be sustained, and can have vibrato applied.

Left Hand Harmony and Tension (Measures 1-2)

The left hand in measures 1-2 is two-voiced, and the chords progress I-vii-I. Teach them that tension increases at the vii chord and then resolves back to I. This way, the middle note of each three-note voice can be played slightly stronger, avoiding a flat progression.

Imitating String Instruments on the Piano

Tell students to "imitate string instruments" as much as possible, and have them play the piano to sound closer to string instruments. The piano cannot sustain notes indefinitely, nor can a note once played crescendo towards the next note. Therefore, have them play as if they are making a crescendo towards the second note, just like a string instrument. Then, resolve to the chord in measure 2 with a diminuendo.

Interpreting the Melody Line

Next, have them play the melody line. As you might understand, tell them that the half note G in measure 1 should crescendo towards the A on beat 3. Of course, this is physically impossible, so guide them to mentally apply a crescendo to reach beat 3. Then, surprisingly, they will be able to reach beat 3 as if a crescendo truly occurred. Since the melody line also ends its phrase on beat 1 of measure 2, it should end with a diminuendo. Therefore, absolutely no accent should be placed on the G on beat 1 of measure 2.

General Applicability of These Concepts

These are the fundamental concepts and techniques for playing this sonatina, and they can be applied to all genres, including other Classical sonatas, Romantic works, and modern/contemporary pieces. Studying many works by Haydn and Beethoven also means studying the movements of string instruments.

Interpreting the Right Hand: Violin Bowing

Now, let's return to the piece. Look at the right hand in measures 2, beats 2-4. The eighth notes are paired and slurred. Explain this as violin bowing. Understand that a violin plays two notes with a single bow stroke (down-bow or up-bow), and that this passage involves a total of three such movements. And the second note of the slurred pair, i.e., the off-beat note – in this example, D on beat 2, B on beat 3, and G on beat 4 – should be played as follows:

• Played softer than the on-beat note
• Cut short with a staccato
• Played with a single motion for both notes

This is the technique. Therefore, for the first note, the hand moves downwards, and for the second note, the hand moves upwards. The touch should be very light, as if you "accidentally touched the second note when lifting your hand (or finger)."

Practical Application of Bowing Technique

Of course, there isn't time for exaggerated movements, so it's just a slight motion. In the future, when playing Classical works, if two notes are connected by a slur, play them with the articulation just described. This pattern frequently appears in works by Mozart and others. In the first movement of this sonatina, similar passages appear in measures 7 (beats 1-2), measure 18 (beats 2-4), and measure 23 (beats 1-2).

Measures 3-4: Cadential 6/4 Progression

Measures 3-4 should be played in the same way as measures 1-2. In measures 3-4, there is a typical second inversion progression known as a cadential 6/4, and the chord resolves on beat 1 of measure 4, so it would be good to make a diminuendo as you progress to the right. The highest tension is in the chord in measures 3, beats 1-2. From there, it gradually decreases.

Measures 5-6: Alberti Bass and Pedal Techniques

An accompaniment pattern like in measures 5-6, where the left hand plays arpeggios, is a typical writing style of this era and is called Alberti bass. This is also a very important technique, so please remember it. And when this pattern appears, apply the technique described next.

Let's take measures 5, beats 1-2 as an example. If you were to strictly adhere to the note lengths of these four notes, G-D-B-D, without using any pedal, it would result in very unmusical playing. The idea is to consider the first G as the bass role, imagining a cello sustaining it for measures 1-2. Next, consider the remaining D-B-D as originally B-D-B-D, with the initial B omitted because the bass G is played. This is because the bass note is played. B-D-B-D should be played legato and smoothly, not stiffly. As a result, by using the pedal and keeping it depressed for measures 1-2, the bass note is sustained, and the inner voice D-B-D can also be heard smoothly. Since there are no non-harmonic tones in measures 1-2, no muddiness will occur even if the pedal is held down.

Similarly, we want to proceed smoothly and melodically in measures 3-4, but we cannot hold the pedal down continuously as in measures 1-2. This is because non-harmonic tones are present.

The chord in measures 3-4 consists of G-B-D-F. Therefore, the A in the right hand becomes a non-harmonic tone. Holding the pedal down continuously in such passages will create muddiness. Of course, there are cases where certain voicings do not cause noticeable muddiness, but in passages like this, use the pedal sparingly or not at all.

Eliminating the pedal can remove muddiness, but then you lose the bass. Therefore, use finger pedaling. The bass finger is likely the 5th finger of the left hand, so sustain this for measures 3-4, meaning keep the key depressed. By doing so, you sustain the bass, maintain warmth and softness, while avoiding muddiness.

You will understand that in measures 6, beats 1-2, there is no problem holding the pedal down continuously. For measures 3-4, use finger pedaling, similar to measures 5, beats 3-4. Non-harmonic tones are also present here.

Overall Dynamics and Climax (Measures 1-8)

The section with the highest tension in measures 1-6 is measure 7. The notes are also written in a high register. Gradually increase the tension from measure 5 to reach measure 7. Once the high G in measure 7 is reached, then apply a diminuendo so that measure 8 ultimately ends with a p.

Conclusion

The evaluation of this sonatina is determined by how the first six measures are played. Try to play it like a string instrument, so that the performance does not become flat and stiff.