Clementi's Sonatina Guitar Lesson

Lesson Objectives

Play the second part to Muzio Clementi's "Sonatina"

The first part will not be addressed until a later lesson. The first part is primarily played in seventh position. As the lessons in this series advance, more of the fretboard will be covered.

This piece develops the following skills:

-Playing fast scalar passages in cut time.

-Reading skills within the second and third positions of the C major scale.

-Playing in time with another musician.

-Alternate picking technique.

-String skipping technique.

Performance Example

Watch and listen several times as Matt performs Muzio Clementi's "Sonatina" in Scene 1. Make sure that you have a good sense of how the piece should sound before you begin to practice it. Remember that it is always easier to play something that you have heard several times.

Note: This piece is of an intermediate to advanced difficulty level. Matt will jump back to easier material in lessons 50-70.

Instrumentation

Clementi's famous Sonatina was originally written for the keyboard. Matt has made very few adjustments to the original score of the piece in arranging it for guitar. The left hand part of the keyboard arrangement is played as the second guitar part. The right hand part (melody) is played by the first guitar in the arrangement.

When performed on a keyboard instrument, the right hand component sounds one octave higher than what is arranged for the first guitar part. Matt teaches the melody in a lower octave purely for educational purposes. Playing the melody an octave higher requires a mastery of fretboard positions that have not yet been discussed in this lesson series.

Process of Learning a New Piece of Music

1. Note the Title: "Sonatina"

A sonatina is a smaller, less complex version of a sonata. The title "Sonatina" is usually given to a piece by a composer to indicate the basic, abbreviated structure of sonata form.

2. Note the Composer: Muzio Clementi

3. Note the Key Signature: C Major

4. Note the Time Signature: Cut Time

"Cut Time" is another way of writing 2/2. In this time signature, the half note receives the beat rather than the quarter note. There are only two beats in each measure instead of 4.

5. Note the Style and Tempo: Allegro

6. Scan the Piece for Important Features

A. Form

The piece is divided into an A section and a B section. The section spans the first page of the score. The B section spans the second page. Each section is repeated twice.

B. Chromaticism

A Section

Many F# notes occur in the A section of the piece. F# is not within the key of C major. This note is actually borrowed from the key of G. The F# note functions as the third of a D major or D7 chord, which is the dominant chord in the key of G.

In the key of C major, D or D7 functions as a "secondary dominant" chord. A secondary dominant chord momentarily tonicizes a chord in a progression by preceding it with the chord that functions as its dominant. Typically, this chord is played as some sort of a dominant seventh voicing. For example, the V chord, G, is frequently tonicized in the piece. This is accomplished by preceding it with a D7 chord. The IV and V chords are the most frequently tonicized chords in a major key. Consequently, the chords that function as dominant to these chords are the most commonly used secondary dominant chords.

In terms of Roman Numerals, the chord that functions as dominant to the V chord is labeled as V7/V (pronounced "dominant of five"). The chord that functions as dominant to the IV chord is written as V7/IV ("dominant of four"). The chord that is being tonicized is always written to the right of the slash.

B Section

The 2nd half of the piece features a temporary key change to the "parallel" key of C minor. When, a temporary key change occurs, the key signature is not altered.

Parallel keys are major and minor keys that share the same letter name but have different key signatures. For example, C major and C minor are parallel keys. The tonal center of both keys is the note C. However, their key signatures are different by three accidentals. The key of C major has no sharps or flats in the key signature. On the other hand, the key of C minor has three flats in the key signature.

In the previous scene, you learned that many compositions modulate from a major key to its relative minor key. Modulation from a major key to its parallel minor key is almost as common. This occurs most frequently in classical music.

C. Musical Road Signs

Don't ignore the repeats signs! By omitting the repeat signs, you are leaving out half of the piece.

D. String Skipping Passages

Measures 9, 11, 32, and 34 feature some light string skipping. These are the hardest measures from a technical / speed perspective. Decide your performance tempo based on these measures. Play about 6-8 bpm under your maximum speed. Otherwise you run the risk of playing sloppy. Matt provides a breakdown of these measures at 03:47 in the lesson video.

Since wide string skips are not used, (skipping over 2 or more strings at a time) it is easiest to play these passages with the wrist anchored on the bridge. This is different from the string skipping technique that Matt demonstrated in the lesson pertaining to Ferdinando Carulli's etude.

E. Position Shift

Measures 16-22 are played in third position. A shift back to second position occurs in measure 23. Matt explains where all the notes should be played and the proper fingering for this section at 01:25 in Scene 4 if you need help with this section.

Note: Third position will be covered in detail in upcoming lessons.

Demonstrations

1. 1st Guitar Part (Scene 5)

Matt demonstrates how the first part should sound in the fifth scene. Developing an awareness of how the melody should sound will help you play the accompaniment part more effectively. Listen to this scene several times to internalize the sound of the melody.

2. Accompaniment (Scene 6)

Play Along Examples

1. Accompaniment

Play the second part of the arrangement along with Matt in Scene 7. Make sure that you are not playing any incorrect notes or rhythms!

2. Duet

Play the accompaniment part while Matt plays the melody in Scene 8. Be confident in your counting skills! The most important aspect of accompanying another musician is providing a solid rhythmic foundation.

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.