To all instructors, when you assign this sonatina to your students, please also play for them the opening of the first movement of the other sonatinas from Op. 36. While other sonatinas often begin with octaves, repeated thirds, or a powerful opening, this sonatina starts with legato arpeggios from the very beginning. And it is undoubtedly a depiction of a song. You might explain to your students that while other sonatinas begin with a male singer, this sonatina starts with a female singer.

From measures 1-12, use the pedal to play the left-hand arpeggios smoothly. However, ensure that the right-hand sixteenth notes do not become muddy due to the pedal. If necessary, extend the 5th finger of the left hand beyond its note value to avoid losing the bass. This section requires a significant amount of warmth.

First Movement: Exposition Structure

The exposition of this first movement is divided into four sections:

• 1. Measures 1-12
• 2. Measures 12-22
• 3. Measures 22-30
• 4. Measures 30-38

While it is not strictly necessary to replace these four sections with singers, the important thing is the difference in mood for each section:

• 1. Beauty, gentleness, anticipation, etc.
• 2. Clementi-like strength, dignity, assertiveness, etc.
• 3. Sentimental, tenderness, comfort, etc.
• 4. Joy, restlessness, anticipation, etc.

These are merely examples, but discuss the mood of these four sections with your students. Then, instruct them to play each section with those feelings in mind.

Development Section

The development section is characteristic of Clementi. It is a development section with strong drama within its brevity. Consider measure 54 as the goal, and build tension from measure 39. Even in the piano sections, never let the tension drop.