From Alamy.com
Sonatina Dennis Alexander Grade 1 ABRSM 2023 – 2024
Character/story of the piece – even though this piece has the title of Sonatina, rather than being an imitation of a particular sonatina movement it seems to be rather an impression of the Classical style. However, it also seems reminiscent of a bourrée with its two-quaver upbeat at the beginning of the first and third sections. The player could imagine that this music is accompanying a group of dancers, where in the first and last sections the R.H. represents the female dancers and the L.H represents the male dancers. The melodic patterns of the R.H typify the movement of the female dancer; perhaps in the middle of the first phrase the female dancer has moved away from the male dancer before reconnecting with him at the end of the phrase. In the following phrase, the dancers are closer together. By contrast, the middle phrase could represent only two dancers rather than a group of dancers. The Classical style is portrayed with its elegant and poised melodic line, its homophonic texture and balanced phrasing.
Form – this piece is in ternary form, with the first section repeated in the third section. The middle section is short and concise, consisting of only one phrase. At the beginning the music is in G major and this key is retained until the end of the section. In the second section the music gradually modulates to D major before returning to G major in the final section.
Main part of the music – this should occur at the end of the piece, at the beginning of the penultimate bar at a fortissimo level. This dynamic level should be held briefly, and all dynamics used in this piece must be considered in relation to the style and period of the music.
Phrasing – there is an interesting use of phrasing in this piece. There are five phrases in total in this piece, with the first and last sections containing two phrases each, which have a question-and-answer character to them. The first, second, fourth and fifth phrases commence with an upbeat of two quavers however the third phrase begins on the first beat of the bar. The player needs to consider how the use of the upbeat contributes to the character of the music. There is a degree of tension created by the upbeat at the beginning of the fourth phrase because it curtails the length of the third phrase.
Tempo, time signature and rhythmic patterns – the composer has written the word moderato at the start of this piece which is an appropriate speed. The speed of 120 crotchet beats per minute will provide the music with the elegance and poise that it requires. The use of the simple quadruple time signature is necessary to convey the grace and charm of the music. There are no rhythmic patterns that could potentially cause any difficulty in this piece however there is a danger that the four-quaver pattern at the end of the first and fourth phrase could be doubled timewise. Because these notes are doubled, the rhythm could sound ‘correct’ .The player must ensure that the quaver patterns are played evenly. In this piece, the player must ensure that they hold the longer notes for their full value, as they could be lifted too soon.
Muzio Clementi By Thomas Hardy (1757–1804) - http://diglib.hab.de/varia/portrait/a-03784/max/000001.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8910815
Touch/articulation – the R.H. should be played with a light, energetic touch with well-rounded fingers, with the hand being supported by a supple wrist and relaxed arm. The rate of descent can be altered according to the dynamic levels required within the phrase. By contrast, the L.H. requires a resonant touch that will provide the harmonic basis for the piece. There are occasions where the L.H. takes on the same touch as the R.H’s, such as in bar 7. In the third phrase there needs to be a contrast in touch with both hands taking on a slightly cantabile touch before returning to the intense and energetic touch used before. Throughout this piece there are numerous lifts that need to be executed as these will provide space and elegance to the music. There is an overlap of lifts at the end of the first phrase which will be difficult for some players to execute. There are many staccato notes in this piece, and these must be played with attention to consistency. Considering that the staccato notes are always placed on crotchets, the player must aim for a sound that is barely tenuto. The detached notes that are at the ends of a slur must be played with the fingers in contact with the keys as they are lifted.
Balance between the hands – for most of this piece the balance is to the R.H. although there are instances where the L.H. should take on a more prominent role. These are, for example, at the end of the first phrase, bars 7 and 8 (and their repeats) and in the third phrase.
Dynamics – a wide range of dynamics should be employed when playing this piece from piano to fortissimo. However, the predominant dynamic used in this piece should range between piano and mezzoforte. There should be a sense of restraint in the dynamics of this piece because if the dynamics are too loud it would not suit the character and style of the music. When considering the dynamic pattern of a phrase, the player should realise that the highest note of a melodic pattern need not be the loudest. And attention must be paid to how the dynamics are realised in the repeated section, as these will need to be differed so that interest is created for the listener.
Agogic effects – small touches of rubato in this piece will be a stylish addition when playing this piece. A slight slowing on the upbeat of the second phrase would be appropriate. In the fourth phrase a lingering at the beginning of bar 16 would suitable. And a short acceleration before the main part would add drama and tension to the piece. The composer has written ritardando at the end of the penultimate bar which should be observed but not at the expense of the rhythmic time values.
Considerations when playing this piece –
A bonus for learning this piece includes the fact that the first and third sections are repeated and the L.H. does not move out of a five-finger position.
The piece contains scale and arpeggio patterns.
The player must consider how the character of the music is affected by the fact that the music commences on an upbeat.
There is some contrary movement present; it is useful if the player focuses on this aspect.
In bars 4 and 16 the finger numbers 3 and 4 coincide.
The player must acknowledge that the final note is a crotchet not a minim.
It is quite a ‘busy’ piece.
The first two phrases should sound confident and as a contrast, the final two phrases should sound more confident and assured.
The repeated notes, such as those in bar 1, need to be carefully considered dynamically regarding the movement of the phrase.
In bar 1, for example, the player must ensure that the L.H. is played as legato as possible.
There needs to be a gentle lift in the R.H. on the D, there must no accent when this note is played, for example in bar 6.
Consider how loud the L.H. should be played such as in bar 4.
There needs to be a definite feeling of movement towards the first beat of the bar in bar 1.
The player needs to consider how to show that the final bar only has three beats.
This piece has a dance-like quality.
There needs to be a contrast in the third phrase – more cantabile and more resonant.
The player must ensure that the L.H. is not lifted too soon in bar 16.