Key Changes in Clementi’s Sonatina Op. 36, No. 1

Recording  Score  Theory Things  William Wieland

Spiritoso C major Beginning (mm. 1 & 2 include only C-E-G.) G major m. 6 (F#) — mm. 7 & 8 (P.A.C.) — See NOTE. C minor m. 16 (F natural) — mm. 16 & 17 (A.C.) C major m. 23 (E natural) — mm. 23 & 24 (P.A.C.) Andante F major Opening (Only F-A-C for over 2 bars.) C major m. 9 (B natural) — mm. 9 & 10 (A.C.) G minor m. 13 (Eb & Bb) — m. 14 (A.C.) F major m. 15 (F natural) — m. 16 (A.C.) Bb major * m. 21 (Eb) — mm. 21 & 22 (A.C.) F major * m. 23 (E natural) — mm. 23 & 24 (A.C.) Vivace C major Beginning (mostly C-E-G) G major m. 23 (F#) — mm. 23 & 24 (P.A.C.) C major m. 30 (F natural) — mm. 34 & 35 (A.C.)

NOTE: G major arrives conclusively at m. 8 with a very strong perfect authentic cadence followed by a G major scale. However, the first hint of G major is in m. 6, the F sharp followed by a G major triad on the next downbeat. I created this assignment for students. They find accidentals more readily than cadences. * The last 2 keys of the Andante are optional. If students are simply looking for accidentals, they will identify Bb major as a key change. However, because it is only 2 chords, this is a tonicization rather than a modulation. This could be a chance to introduce Secondary Dominants and Applied Chords.