Conceptualizing the Sonatina as a String Quartet

This sonatina can almost certainly be regarded as a string quartet. Students unfamiliar with string quartets should watch videos on YouTube, etc. It is typically comprised of two violins, one viola, and one cello.

As a teaching method, if teachers possess music software, creating an audio sample of this sonatina played as a string quartet, selecting instruments according to the string ensemble's configuration, would provide an unparalleled clear audio example. For sections with three voices, if the bass clef has two voices, consider them cello and viola, and the treble clef as violin. If there are two voices in the treble clef, it could be two violins, or a violin and a viola. In any case, assign the uppermost voice to the violin, the lowermost voice to the cello, and the remaining voice can be either viola or violin.

Performance Implications

Consequently, for example, in the bass clef section of measure 1, the chords appearing on the downbeats of the first and second beats should not be played merely as attacks. It becomes clear that string instruments sustain notes, and when changing notes, they merely shift fingers, resulting in no attack. Furthermore, the sixth interval appearing in the treble clef of measure 4 suggests short, soft string bowing.

Emphasis on Horizontal Flow

These considerations are extremely important when conceptualizing the piece as a string quartet. Performers should strive their utmost to avoid vertical segmentation of the music, allowing it to flow horizontally.

Augmented Sixth Chords (Italian Sixth)

This sonatina features a chord known as the "augmented sixth chord." This chord was frequently used from the Classical era and creates a unique atmosphere. In this sonatina, an augmented sixth chord called the "Italian Sixth" appears. The first instance appears in measure 3, where the C# on the second beat is resolved by ascending to D in measure 4, and the bass note Eb is considered resolved by descending to D in the following measure 4. Therefore, care should be taken not to place an accent at the beginning of measure 4, and to ensure the volume does not become louder than in measure 3.

Specific Chord Resolution (Measures 17-18)

The last chord in measure 17 is also similar. However, in this case, the G and C# written in the treble clef are sustained as suspensions into the next measure. Therefore, consider the chord on the first beat of measure 18 to be loud, and the second beat, being the resolution, to be soft.

Interpretation of Dynamics

Furthermore, regarding the dynamic markings written in this sonatina, it is more logical to interpret them as applying to the entire section where they are written, rather than just the specific spot. For instance, the forte written in measure 11 should be considered effective until the downbeat of measure 12, interpreting that entire section as relatively loud.

Moreover, regarding the forte markings in this sonatina, they are not to be interpreted as the forte found in Chopin or Rachmaninoff. Please be careful not to make them excessively loud.