Sonatina in F Major, First Movement, op. 168, no. 1 by Anton Diabelli

Getting Started

Teaching Sonatina in F Major, Op. 168, No. 1 (1st movement) by Anton Diabelli to a level 4 student is an exciting journey into Classical style. This RCM Level 4 piano piece (List B in the RCM syllabus) is often one of a student’s first encounters with the sonatina/sonata form. It provides an excellent introduction to Classical-era techniques like Alberti bass accompaniment and lyrical phrasing.

Quick Facts

General Facts

Composer: Anton Diabelli (1781–1858).
RCM Level: 4 (RCM Grade 4, List B piece).
Era and Style: Late Classical era (published 1839, though Diabelli’s style here is firmly Classical).
Tempo Marking: Moderato cantabile. This implies a relaxed, lyrical feel that's not too fast.
Techniques Highlighted: Alberti bass accompaniment in the left hand (broken chord pattern), two-note slurs (sighing appoggiatura figures in the melody), balance between melody and accompaniment, classical staccato and legato touches, and playing without relying on pedal.
Mood: Graceful and lyrical in Theme 1, playful and lively in Theme 2.
Common Challenges: Keeping the left hand soft and even (Alberti bass), shaping the melodic phrases, executing classical ornaments or appoggiaturas, and understanding the sonatina’s form.

Sound and Mood

The sound and mood of Diabelli’s Sonatina in F major are rooted in its Classical-era heritage. F Major is often associated with a bright, genial character, and this piece embodies that with an overall cheerful and poised mood.

From the first bars, the student should aim to create a warm, singing tone in the right-hand melody, as indicated by the marking cantabile (meaning “in a singing style”). The opening theme has an elegant, gentle lyricism. Imagine a polite conversation or a singing voice humming a pleasant tune. In fact, the melody contains “sighing” appoggiaturas, creating a plaintive sigh effect. These give the first theme a tender, expressive quality. Encourage the student to listen for and emphasize that slight yearning or longing feel on those little two-note slurs. It should sound as if the music momentarily “leans” in tension, then resolves, which adds emotional colour to an otherwise lighthearted piece.

After the graceful opening, the mood brightens and becomes playful with the introduction of the second theme. Here, the articulation typically shifts to shorter, detached notes, such as staccatos or light lifts, creating a bouncy, lively feel. The student should aim for a sparkling, mischievous sound in this section. Imagine a little classical-era game of tag or a courtly dance. The contrast between the songlike first theme and the sprightly second theme is a hallmark of Classical style, showcasing the piece’s light mood swings that keep the listener engaged. Make sure your student is aware of this contrast and exaggerates it: the first theme could be played dolce (sweetly) and legato, while the second theme is more staccato, perhaps with a humorous touch.

The ending of the movement features a short coda or closing phrase that builds to a confident finish, marked forte or a sforzando, resulting in a satisfying and bold conclusion. This final brilliant moment should still sound clean and not harsh: the student can imagine a polite yet jubilant proclamation of victory in a classical salon rather than a romantic thunderclap.

In summary, the mood of this Sonatina oscillates between elegant lyricism and playful vitality. To achieve the proper sound, remind your student of Classical ideals: clarity, balance, and lightness. Even at louder dynamics, the sound should remain clear, and at softer dynamics it should still project a singing quality.

Sheet Music

Finding and working with the sheet music for Diabelli’s Sonatina in F Major is straightforward, as it’s a well-published teaching piece. The RCM Celebration Series, 6th Edition, Level 4 Piano Repertoire book includes this piece (1st movement only) with editorial fingerings, tempo suggestions, and performance notes. If you or the student have the Celebration Series book, use it as your primary score since it’s curated for the exam.

Technical and Musical Challenges

Diabelli’s Sonatina in F major is a late elementary piece that presents several technical and musical challenges, valuable for developing pianists.

1. Hand Coordination and Balance

One of the first hurdles is coordinating the right-hand melody with the left-hand Alberti bass accompaniment. The two hands are doing very different things: the right hand often plays a singing melody line (sometimes with longer note values or rests between phrases), while the left hand is continuously moving with a steady stream of shorter notes (broken chords). The student must learn to balance the hands, ensuring the right-hand melody sings out above the left hand. This requires hand independence where the left hand needs to play softly and evenly while the right hand projects.

Coordination-wise, certain spots may have the hands not aligning perfectly (for example, if the right hand has a rest or a longer note while the left continues its pattern). The student must keep the left hand in time and resist the urge to slow down or speed up when the right hand is doing something different. This is a great exercise in independence: have them clap the left-hand rhythm while you sing the right-hand melody, and vice versa, to ensure they can “feel” each hand’s role. Also, watch for the appoggiaturas or grace-note figures in the right hand as these often steal time from the main beat and can throw off coordination. Counting aloud and slow practice will help align such figures. Mastering hand coordination in this piece will prepare the student for more complex textures in future repertoire.

2. Alberti Bass Left Hand Technique

The Alberti bass pattern in the left hand is a signature of Classical piano writing. It is a broken chord pattern typically in the order lowest note – highest – middle – highest (for example, in F major chord: F – C – A – C, repeatedly). While it creates a beautiful harmonic carpet under the melody, it can be technically tricky for a student. The challenge lies in playing a constant even stream of notes without tension and without accenting the wrong beats. Alberti bass requires finger strength and dexterity, as well as a relaxed wrist. Many students tend to get tense in the left hand or play it too robotically. Emphasize a smooth, flowing motion. Sometimes a slight rotation of the wrist can help facilitate the leap from the low note to the high note. You can instruct the student in “finger pedalling”: holding each bass note slightly longer until the next one to create overlap, while changing the upper notes cleanly. This creates a more connected resonance without using the damper pedal. In fact, avoid using sustain pedal for this accompaniment; teach the student to rely on finger legato to connect notes. This is an excellent skill that encourages attentive listening and finger control (since over-pedalling would blur the clarity of the Classical texture).

Another left-hand challenge is stamina and shape. Since the Alberti bass runs almost non-stop, students may either lose evenness over time or let it get monotonous. Encourage them to shape the left hand line in support of the right hand phrasing. For instance, slightly lighten the accompaniment when the right hand has a new phrase (to let the melody emerge), or follow the dynamic contour (play left hand slightly louder during a crescendo, but always proportional to the melody).

Finally, watch for any wide leaps or pattern changes: sometimes in development sections, the left-hand Alberti pattern might change inversion or jump to a new hand position quickly. In Diabelli’s Sonatina, the left-hand accompaniment frequently requires rapid shifts between chord tones, with hand extensions and contractions (especially at transitions like mm. 2–3, mm. 4–5, and later mm. 25–26 and mm. 28–29). The student should practice such jumps slowly, finding a comfortable fingering and perhaps practicing the left hand alone in those spots until it’s secure.

3. Articulation and Phrasing

Articulation in this sonatina is a study of contrasts. The student must execute legato, two-note slurs, and staccatos often within the same piece. For the melody, a primary challenge is doing the two-note slur (appoggiatura) pattern correctly. The Classical two-note slur typically means play the first note with some weight and the second note softer, then lift – essentially a “drop–lift” motion that creates that sighing sound. Students might either play both notes heavy or not lift, losing the effect. Teach them the technique of arm drop and lift: lean into the first note, then release on the second. You can have them practice this on two random notes to get the feel, then apply to the actual melody.

Meanwhile, the staccato articulation often appears in the second theme or accompanying figures. Classical staccato should be light and quick, not harsh. The challenge is to keep staccatos short without stabbing at the keys. A good approach is a small, bouncing motion in the hand or forearm, similar to a delicate bouncing ball, to produce clean staccato notes (think back to the Basketball Dribble in the Piano Adventures Primer Technique & Artistry book).

The left hand might also need a slight detach on repeated notes of the Alberti pattern to avoid blur. While still overall sounding connected, each repeated note can be played slightly separated. This subtle half-detach keeps the texture clear. Students might find it hard to differentiate between legato in one hand and staccato in the other. In some places, the right hand might be legato while left hand is somewhat detached (or vice versa). Isolate these by having the student play one hand staccato and the other legato, to feel the contrast, then swap hands, then put together.

Phrasing is another musical challenge. The piece consists of four-bar phrases that form musical “sentences.” The student should learn to hear where phrases begin and end. Often, phrases end with a longer note or a rest: that’s a clue to lift and breathe. A common issue is rushing through phrase endings or not lifting, which makes the music sound un-phrased (run-on). Highlight the phrase marks in the score (if they’re not already marked, add slurs over phrase groups) and have the student practice breathing at phrase ends (literally taking a slight breath or raising the hand to signify the break). Also, within each phrase, encourage a natural crescendo then diminuendo (unless marked otherwise) to emulate the natural speech inflection or singing line. Many Classical phrases have a small swell toward the middle and taper at the end. This teaches musical shaping.

Finally, dealing with the return of the main theme (recapitulation) in a musical way can be a challenge. When the opening melody returns (marked dolce), the student must make it sound fresh yet also somewhat matured after the development. For example, if the recapitulation marking says dolce, make sure they really play more sweetly and perhaps even softer than the first time, as if it’s a gentle reminiscence of the opening.

4. Dynamics and Expressivity

Executing the written dynamics and bringing expressivity to the piece is another area to focus on. Technically, it’s challenging for students to rapidly adjust dynamics (going from piano to forte over a few bars of crescendo, for example) while also playing the correct notes and rhythms.

There’s a spot in the development section marked poco a poco cresc. – gradually getting louder – culminating in a forte on the V chord. The student needs to plan the crescendo: not getting too loud too soon, but also not staying too soft. This is a good lesson in dynamic control. One strategy is to divide the crescendo passage into segments and have the student aim one dynamic level higher with each segment (e.g., start soft, by midpoint be at medium, by the end reach loud). Similarly, when a sudden piano returns (like at the recapitulation), practice making a clear contrast – drop from loud to soft cleanly. Demonstrate how an abrupt dynamic change can be very effective (almost like a surprise).

Expressivity also comes from touch and rubato. While Classical pieces generally keep a steady tempo, a tiny rallentando at a cadence or a slight hesitation at an appoggiatura can add expressiveness if done tastefully. On mm. 24, the score has a rall. before the recap. This is common, as composers typically indicate a slight slowdown before returning to the tempo of the main theme again. Teaching the student to execute a controlled rallentando – gradually slow down just for a bar or two – without losing the basic pulse is a challenge. Count with them and show that rallentando doesn’t mean lose time completely; it’s a gentle broadening. Then a tempo means snap back to original speed, which is tricky but can be practiced by metronome (gradually slow for 2 bars, then on a cue or a metronome click, resume original tempo).

Finally, he ending cadenza or flourish in mm. 35-37 can be a challenge. In this piece, there's a scale leading and a broken-chord flourish leading to the final chords. That run needs to be played evenly and confidently to sound triumphant. Students often rush the final run or get uneven. Encourage slow practice of any scale-like passage with strong, even fingering. Remind them the crescendo is leading to a sforzando accent – they can think of that as a final exclamation point. The challenge is to hit those last chords together and bold, without cracking. Work on aiming and preparing for the final chord: perhaps practice the motion of moving into the chord from the previous note, so their hands know where to land.

Teaching Strategies and Lesson Plan Ideas

Approaching this Sonatina with a structured plan will make the learning process enjoyable and efficient.

Step 1: Introduction and Context

Start by spending a few minutes offering historical context about what a sonatina is. Explain that “sonatina” means little sonata, which is basically a simplified sonata-form piece, often used for teaching. You might show them a page from a full sonata by Haydn or Mozart to compare how this Diabelli piece is shorter and more accessible.

Then, have the student listen to a recording while following along in the score. After listening, discuss what they heard: “Did you notice two different themes? Where did the music change?”

Together, lightly map out on the score the following and explain the purpose of each part:

Theme 1	Establishing theme	mm. 1-6
Theme 2	Mood turns playful	mm. 6-12
Development	Music becomes unstable and sequence-like	mm. 13-24
Recapitulation	Return to main themes	mm. 25-35
Coda	Ending passage	mm. 36-38

By laying out the form early, you give the student signposts to aim for, which aids both learning and memorization.

Step 2: Learning the Notes in Sections

Review the mapped out measures to break the piece into logical sections for learning. Tackle one section at a time per lesson. Encourage the student to think about the story of each section. Maybe ask, “How is Theme 2 different in character from Theme 1? Can you come up with a story to describe it and show me how you would play it?” This encourages musical decision-making as they learn notes.

Start with hands separate practice. For instance, in lesson 1, you might focus on the right hand of Theme 1: have the student play the melody alone, ensuring they observe slurs and dynamics. Can they make it smooth and cantabile? Once the RH notes/rhythms are learned, introduce the LH Alberti pattern for the same section separately. Perhaps teach the LH by explaining the chord progression and let them block the chords (play F-A-C together as a chord, then the next chord, to see the shape) before doing the broken pattern.

After both hands are somewhat comfortable separately, try hands together slowly for that section. When combining hands, count aloud or use a metronome at a slow tempo so the student can line up the LH arpeggios with the RH melody. It helps to have the teacher play one hand while the student plays the other occasionally – this gives them support.

Step 3: Refining Technique

Dedicate part of each lesson to focus on the left-hand technique as a separate item. One lesson idea is a “Left Hand Boot Camp.” For example, have the student play the LH Alberti bass pattern on the tabletop or closed piano lid to ensure a relaxed wrist and even rhythm. Then have them play just the left hand through the whole piece (or large sections of it) as you count or snap the beat. This builds LH security. If the left hand tends to accent the top note of the Alberti pattern (a common issue), have them practice accenting the bottom note lightly instead, then go back to no accent. This can even out the sound.

Step 4: Refine Phrasing and Dynamics

Once notes are learned, do a session on phrasing. Have the student sing the right-hand melody (using la-la, solfege, or lyrics you make up) while you play it, or have them play and you sing along emphasizing phrasing. Sometimes we even have students conduct the phrase with their left hand in the air while playing the melody with the right, to feel the rise and fall. Point out where to breathe by physically lifting their hand at phrase ends. One creative idea: ask the student to draw a gentle phrase line above the score, indicating where the music grows and then falls. This visual cue can remind them to shape phrases when practicing alone.

For dynamic exploration, play a “dynamic contrast game.” For instance, take the opening phrase and ask the student to play it pp (very soft) then ff (very loud) just for fun, to explore extremes. Then find the musically appropriate dynamic (likely p or mf for opening) and have them play it at that level. For Theme 2, maybe do the same – try it exaggerated staccato and loud, then very timidly, and compare to find the right playful balance (probably mf or f but light). This helps them internalize dynamics not just as markings but expressive choices. Also practice any crescendos and diminuendos with exaggeration in lesson, so on stage it comes across adequately (things often come out more subtle than intended under nerves, so learning to really swell or really taper in practice is beneficial).

By mid-learning, dedicate a part of the lesson to doing a slow play-through hands together of the piece (or large sections) with a metronome. Pick a comfortable slow tempo (say ♩=60 or 72) and have them play through while focusing on accuracy and coordination. This slow work is like “under the microscope” practice that solidifies rhythm and allows time to think ahead for each hand movement. Gradually, week by week, notch up the metronome closer to the target tempo (108–120).

Step 5: Performance Practice

Closer to performance or exam readiness, do a mock performance. Have the student announce the piece (as they would in a recital) and play through without stopping. Perhaps invite another teacher or a couple of fellow students as a small audience (or even just some stuffed animals on the couch as audience for younger kids!). After the performance, give feedback and also ask them how they felt. Did they remember to bring out the melody? Where did they feel most confident, or where did it falter? This reflection is key to improving. You can record this run and then watch it together, asking them to critique their own playing kindly (what did they love? what can be better?).

To ensure they truly know the piece, sometimes have them start from a later section instead of always from the beginning. For example, “Let’s start at the beginning of Theme 2 now,” or “Play from the development section.” This prevents the habit of only being able to play from the top and trains them to recover if a memory slip happens mid-piece by jumping to known sections.

Muso Academy's Catch and Go game is also a fun way to reinforce memory and interruption training.

Practice Tips and Trouble Spots

As the student practices this piece at home, they will likely encounter some roadblocks. Here are several targeted tips for practicing Diabelli’s Sonatina in F, along with solutions to typical issues:

1. Slow Practice with the Metronome

This cannot be emphasized enough. Many mistakes (especially with coordination or evenness) iron out when the student practices hands together slowly with a metronome. Encourage them to start each practice session by playing a tricky passage under tempo. For example, if the goal tempo is ♩=112, suggest they start at ♩=60 or 70 for a few runs. If a particular measure is messy (say the bar with the F# and sequence), play it at a snail’s pace, perfectly, then gradually notch up the speed. Remind them that “if you can’t play it slowly, you don’t truly know it.” Slow practice builds security.

2. Hands Separate for Problem Spots

If the student keeps stumbling in a certain spot, advise them to practice that spot hands alone several times. Often, one hand is the culprit (e.g., the left hand might be lagging). By isolating, they can fix the fingering or notes in that hand. After it’s comfortable, re-sync hands.

A good rule: whenever a mistake happens, isolate it. Say they always hit a wrong note in measure 10 left hand – stop and play just LH measure 8–12 repeatedly until it’s correct, then rejoin with RH.

3. “Looping” Difficult Measures

Take the difficult two-bar phrase and loop it (play it repeatedly 4-5 times without stopping). For example, if measures 15–16 are hard, play 15-16, then jump back to 15 immediately and go again, in a continuous loop. This repetition builds muscle memory. Caution them to loop slowly first, then speed up. Once it’s secure, do one more loop a tad faster than performance tempo. This makes performance tempo feel easier by comparison.

4. Record Yourself

A common troubleshooting need is balance. Students often can’t tell in the moment if their left hand is too loud. Encourage them to record their practice (even a smartphone recording is fine) and listen back. Tell them specifically what to listen for: “Can you hear the melody clearly over the accompaniment? Are the staccatos crisp?” Often, hearing themselves as a listener reveals issues and boosts self-awareness.

If despite reminders the left hand remains chunky or too loud, here’s a trick: have them practice the left hand part on a soft surface (like a pillow or with keyboard lid down). They will automatically play lighter because they can’t bang on a pillow. Then transfer that light touch to the piano keys.

5. Staccato Practice Separate from Legato

When a student struggles to make their staccatos short enough or consistent, have them practice only the staccato sections in isolation. For example, play the entire Theme 2 with exaggerated staccato in both hands to really get the feel (even if RH isn’t marked staccato, do it for practice). This builds the muscle memory for quick release.

Conversely, practice the legato sections with exaggerated smoothness (maybe even overlap fingers a bit, almost like fake pedal) to cultivate connectedness. Then when they play normally, the contrast is clear.

6. Gradual Metronome Bumps

For building up speed, start at a comfortable tempo and use the “+4” or “+8” method where you increase the metronome by 4 bpm each successful run. If a certain tempo causes mistakes, drop back down, solidify, then try again. This systematic approach prevents the student from the common pitfall of trying full speed too soon and getting frustrated.

7. Mental Practice and Score Study

If the student is struggling with memory or understanding, encourage some away-from-piano practice. For example, have them visualize playing the piece on their lap or just in their mind, humming the melody. Or they can take the score and follow it with their eyes, hearing it in their head, maybe even conducting. This builds a mental map.

Troubleshooting memory lapses often involves analyzing the score: “Okay, at bar 24 you keep forgetting what comes next – let’s see, that’s where the sequence goes to G minor. What chord is that…?” Discussing and thinking it through cements the knowledge so next practice, that spot is clearer.

8. If Mistakes Happen, Don’t Always Start Over

Teach the student a vital skill: recovering from mistakes. When practicing, if they mess up, instead of always jumping back to the beginning, they should practice stopping, evaluating, and jumping back in from a bar or two before the mistake. This way, they learn not to panic and how to continue even if something goes wrong. In an exam or recital, this is crucial – the ability to keep going. So during home practice, they can simulate this: deliberately play a wrong note, then practice getting back on track.

Memory, Tone, and Phrasing Tips for Polishing

Memorization Strategies

Memory is a combination of muscle memory, aural memory (knowing how it should sound), and intellectual memory (knowing theory and form):

Encourage them to memorize one section at a time (e.g., “Today, let’s aim to memorize the first 8 bars”). Once they have that, move to the next section. Because the piece naturally breaks into themes and development, they can treat each like a short separate piece to memorize, then string them together.
Have the student clearly know the roadmap: Exposition (repeat) to Development to Recapitulation to Coda. If they can say this and point out in the music where each part starts, they have a mental framework. When memorizing, they can label these parts in their mind, which helps if something is forgotten – they think “What part am I in? Oh, the development. What happens there?” It’s easier to recall if you know, for example, development starts on a D minor chord sequence, rather than trying to recall random notes.
Identify some landmark chords or notes. For instance, the very first chord (F major) is a landmark. The point where the key changes to C major is another landmark. The return of F major at the recap is a big landmark. Mark these in the score or mentally note them. The student can practice starting at these landmarks to ensure they’re not reliant on always going from the top.
To truly test memory, have the student try playing just the right hand from memory, then just the left hand from memory. This is challenging but will expose any weak spots. If they can do hands separate, hands together is usually very secure. Maybe assign this as a fun challenge: “If you can play the left hand by memory all the way through, you really know those patterns!”

Tone Production

Tone, especially for the cantabile melody, is a focal point in polishing. At this stage, every note of the melody should be given attention for quality of sound:

One exercise is to have the student play the right-hand melody legato with arm weight, almost as if they are “bowing” on a violin or singing. Encourage them to use a deep, relaxed push into each note and listen for a round, warm sound. They can practice the melody on its own with varying dynamics, ensuring even the soft notes have core and the loud notes aren’t harsh.
To refine tone, experiment with different touches. For instance, try playing a phrase with a more finger-centric approach (using just the fingers, keeping arm light) versus playing with more arm weight and finger combined. Discuss the difference in tone – one might be lighter, one fuller. In performance, likely a combination is needed: a supported finger legato for melodic lines. Also explore where on the key they play – sometimes playing a melody slightly closer to the edge of the keys with rounded fingers yields a singing tone, whereas hitting deep at the key bottom might sound harsher. These micro-adjustments can affect tone quality.
At the polishing stage, it’s not just about phrase arches but also note-to-note connectivity. For example, if a phrase goes up then down, each note might have a slightly different nuance. Work with the student on a detailed level: “Make this high point note a tad warmer and louder, and the next note a little softer as it descends.”
Generally, we avoid pedal in this piece to maintain clarity. But occasionally, a very slight touch of pedal on a long note can add warmth to the tone if the piano is dry-sounding. If the student’s instrument or exam piano is a bit lacking in resonance, you might consider a flutter pedal (very quick pedal) on the downbeat of a chord to enrich it, provided it doesn’t blur. This should be used sparingly and practiced well in advance. In most cases though, focus on achieving singing tone through technique alone.

Phrasing and Musical Expression

Polishing phrasing means ensuring the performance has shape and emotion, not just correct notes and rhythms. Here are final tips:

Double-check phrase endings. In a polished performance, phrase ends often taper off unless indicated otherwise. So that means slightly softer at the end of a slur or phrase, maybe a tiny lingering on the last note before a silence.
Encourage the student to breathe with the music. Taking a breath at a phrase break (even if subtle) can psychologically reset them for the new phrase and also signal to the audience that one idea ended and another begins. Likewise, body language can help phrasing. Maybe try a gentle lift of the hand at phrase end, or leaning forward slightly during a crescendo, etc. They shouldn’t exaggerate theatrically at this level, but being physically in tune with the phrasing often improves the sound.
In Classical pieces, we don’t use a lot of rubato, but tiny adjustments at cadences or expressive slurs are acceptable. At polishing stage, ensure any rallentando is executed smoothly and any return to tempo is clean. If they tend to rush easy parts out of excitement, train them with mental checkpoints – e.g., “listen to the left hand as your metronome” or “hear the melody in your head singing calmly” to avoid rushing.
At this point, ask the student what character or mood they want to portray at each section, and see if that’s coming through. For example, if they say “The opening is like a gentle lullaby,” then in the polished performance the audience should feel that gentleness. If not, figure out what’s missing – maybe more legato, softer dynamics, etc. It’s about aligning intention with execution.

Theory and Technical Tie-Ins

One of the best ways to reinforce learning is to connect the piece with broader theory concepts and technical exercises the student is learning. Diabelli’s Sonatina in F is rich with opportunities for such connections.

Theory Connections

1. Key and Scales

Since the piece is in F Major, ensure the student knows the F major scale, both in theory and practice. Have them write out the F major scale in their theory notebook (one flat: B♭) and identify the relative minor (D minor).

2. Chords and Cadences

This piece provides a practical example of primary chords. Identify the I, IV, V (and V7) chords in F major with the student. The Alberti bass in the left hand is essentially arpeggiating these chords. You can label a few measures: “Measure 1: I chord, Measure 2: V/V7 chord,” etc.

3. Form and Terminology

Use the proper terms for the form: Exposition, Development, Recapitulation. Make sure they know terms like “theme”, “scale passage”, “sequence” (if a sequential pattern occurs in development), etc. Also clarify what “Moderato cantabile” means in Italian: moderato = moderate speed, cantabile = in a singing style.

4. Terminology Recap

Make a quick list of all terms and symbols in the piece and quiz the student on them. Terms likely include: Moderato, Cantabile, p, f, mp, cresc., poco a poco, dolce, rall., a tempo, legato, staccato, accent (if any “>” markings), sf or sfz (sforzando accent), etc. If the student can define each, they are well-prepared. (For example, dolce = sweetly; rallentando = gradually slowing down; a tempo = return to original tempo; sfz = a sudden strong accent, etc.)

Sight-Reading and Ear Training Activities

Incorporating sight-reading and ear training activities that relate to this sonatina will further solidify the student’s skills and understanding. These activities can be fun and directly tied to the musical content of the piece, making them more relevant. Here are some ideas:

Sight-Reading Activities

1. Rhythm Reading Drills

Extract a few rhythmic patterns from the piece and use them as sight-reading rhythms. For example, the left hand Alberti bass creates a repeated pattern of 4 even notes per beat (or two per beat if written in 8ths) – have the student tap this pattern while counting. Also, the two-note slur in the melody often is a long-short rhythm (like quarter – eighth, with an eighth rest perhaps). Write down a measure that has this rhythm on paper (or clap it) and ask the student to identify or tap it back. You can also create a short 4-bar rhythm sight-reading exercise that includes similar combinations of quarter, eighth, and half notes as the sonatina does, and have them clap it.

2. Sight-Read Other Sonatinas

If the student is capable and confident, let them try sight-reading a different sonatina from level 3 RCM. They will see very similar patterns: Alberti bass in left hand, two themes, etc., but in an easier key (C major). This not only boosts their reading, but reinforces form recognition.

3. Flashcard Intervals/Chords

Prepare flashcards or written examples of intervals and chords found in the piece. For sight-reading practice, show them an interval (like a 3rd, 4th, 5th from the piece’s melody) and have them quickly play that interval on the piano as if reading it. Or show a broken chord pattern (like the notes F–C–A) on the staff and have them identify it as an F major chord broken, then play it. This trains quick recognition of common configurations they see in the piece.

4. Sight-Reading Duet

You play one hand and have the student sight-read the other hand of a simple piece with similar style. For example, you take a bass Alberti part and they sight-read the treble melody from some easy sonatina. This way they only focus on one clef but still have to keep time and coordinate with you, which is a real-world skill (like accompanying). It also simulates ensemble playing, which sharpens their reading ability and listening.

Ear Training Activities

1. Chord Quality by Ear

Simplify the harmony and test their ear: play a few broken chords and have them tell you if it sounds like major or minor. For instance, play F-A-C (F major) broken vs F-A♭-C (F minor) broken, and ask which one sounds like the piece (the major one, hopefully they discern the happy vs sad sound). This reinforces their listening for tonality. Also, play the broken chord pattern of the dominant seventh (C-E-G-B♭) and see if they notice the tension. Explain how that chord wants to resolve to F – then actually resolve it and let them hear the resolution. This helps their ear predict progressions.

2. Interval Ear Training

Pick out some intervals that occur prominently in the melody. Play that interval for them (harmonically or melodically) and have them identify it. RCM Grade 4 ear tests often include identifying major 3rds, perfect 4ths, 5ths, etc. For instance, the jump from C to G is a 5th (if such jump exists in the piece). The more they relate intervals to a song (like “Twinkle Twinkle” for a fifth, etc.) or to their piece, the better. You can say “the interval at the start of Theme 2 is a perfect 4th, can you sing those two notes? Now identify it by ear when I play it differently.”

3. Improvisation/Ear Connection

Ask the student to improvise an answer to the first theme. For example, you play the first two-bar phrase of the sonatina, and then you ask them to play a response that could logically follow (maybe also two bars, ending with a sense of closure or leading tone). This encourages them to use their ear to continue a style. Since classical phrases often come in question-answer pairs, see if they can come up with an “answer” phrase that ends on a stable note (like the tonic). It’s a higher-level exercise, but even a simple attempt can improve their understanding of phrasing and tonal center by ear.

Questions and Answers to Prepare with Students

It’s helpful to prepare some Q&A with your student for informal studio presentations. Here are some potential questions and model answers:

Q: What era of music is this piece from, and who is the composer?

A: Sonatina in F Major is from the Classical era. It was composed by Anton Diabelli (1781–1858), an Austrian composer and publisher who was a contemporary of Beethoven. Even though it was published in 1839, just at the beginning of the Romantic era, its style is firmly classical.

Q: What does the title “Sonatina” mean?

A: “Sonatina” means a little sonata. It’s a short piece usually in sonata form but simpler. This Sonatina has three movements (we’re playing the first movement). Essentially, it’s like a small-scale sonata intended for students or as light repertoire.

Q: Can you describe the form of this first movement?

A: Yes. It’s in sonata form (or sonatina form). That means it has an Exposition with two themes (first theme in F major, second theme in C major), then a short Development section in the middle where the themes get explored and the music modulates, and then a Recapitulation where the two themes come back in F major. Finally, it ends with a closing section (coda).

Helpful Sources

Graham Fitch – Practicing the Piano (Online Academy): Insightful teaching commentary on Diabelli: Sonatina in F, Op.168 No.1 (1st mvt) online-academy.informance.biz