This article about teaching piano sonatinas written by women was written by Eleanor Gummer. Eleanor holds a Master’s degree in Piano Performance from McGill University. She is the director of Whitby School of Music and is actively involved in the research of women composers. In addition to teaching a large studio of advanced students, Eleanor also works as an adjudicator, clinician and composer. Learn more about Eleanor at oneeyepublications.com.
If teaching the piano sonatinas of Clementi, Khulau or Dussek have you rolling your eyes with boredom, perhaps it’s time to explore something new from exciting women composers.
Like many women composers in history, musical works by Hedwige Chrétien largely faded from the mainstream canon of teaching performance repertoire until recently, when they have experienced a revival – especially her piano sonatinas.
Chrétien’s piano sonatinas blend technical accessibility with expressive sophistication, offering intermediate students a rewarding step beyond the traditional repertoire of Clementi and Kuhlau. They cultivate hand independence, stylistic sensitivity and musical imagination – hallmarks of mature musicianship.
These sonatinas combine the pedagogical intent of traditional sonatinas – teaching form, structure and technique – with the refined artistry and elegance of the French Romantic style, encouraging musical imagination and stylistic awareness.
For those who aren’t familiar with Hedwige Chrétien’s piano sonatinas, the following are good places to start when introducing them to intermediate piano sonatinas.
Form and Structure in Chrétien’s Sonatinas
Chrétien’s sonatinas generally follow a four-movement classical model:
- Fast first movement (Sonata-Allegro style)
- Lyrical slow movement
- Scherzo or Minuet
- Brisk finale
Each movement is predominantly in ABA form, making it easy to teach musical form.
Form and Structure: Pro Teaching Tip 1
Teachers might begin with the A section, and guide students to observe the changes when the section returns. In the Scherzo of Sonatina I, for example, Chrétien writes a mini fugue with the hands imitating each other.
Students can map out each entry of the subject before playing hands together.
Form and Structure: Pro Teaching Tip 2
Sonatina III features a lively Scherzo movement based on scales. This scale motif reappears in the Finale, providing a clever way to illustrate structural and thematic unity across movements – a useful concept to introduce to developing musicians.
Tone and Balance in Chrétien’s Sonatinas
A hallmark of Chrétien’s writing is her inventive left hand material. Unlike the typical Alberti bass accompaniment of many sonatinas, Chrétien frequently assigns countermelodies in the left hand. This demands refined balance and hand independence.
Tone and Balance: Pro Teaching Tips
To help intermediate piano students develop the proper tone and balance in Chrétien’s sonatinas, teachers can guide students to:
- Practise each hand separately, listening for clear melodic direction in each.
- Use rotational movements and weight transfer to project the left hand line without heaviness.
- Employ “call and response” phrasing when the melody shifts between hands (as in Sonatina I, mm. 9–11).
Teaching Tone and Balance: Example 1
In Sonatina I, bar 9 features a sostenuto chromatic descent in the left hand – an ideal passage for discussing tone control.
Later exchanges (such as bars 21 – 24 and 36 – 44) reinforce the importance of balanced interplay between voices.
Teaching Tone and Balance: Example 2
Sonatina II begins with a more traditional Alberti bass accompaniment, but bars 21 – 24 and 36 – 44 present a dialogue between the hands.
This provides an opportunity for teachers to introduce the “call and response” phrasing.
Phrasing in Chrétien’s Sonatinas
Chrétien generally uses four-bar phrasing, but there are sometimes irregular phrase lengths due to the imitation between the hands.
In the Scherzo of Sonatina I, phrases may shorten to three or even two bars. This gives teachers an opportunity to teach students to listen for natural cadences rather than relying solely on bar lines.
Phrasing: Pro Teaching Tips
Encourage students to:
- Mark phrasing with breath marks in their scores.
- Practice singing the lines to internalise phrasing.
- Experiment with tone colour to differentiate the A and B sections.
Chrétien’s detailed articulation and dynamic markings are integral to the phrasing. Teachers can reinforce score study by having students verbalise every phrase marking before playing.
Articulation in Chrétien’s Sonatinas
Chrétien’s meticulous articulation markings anticipate the precision found in 20th century composers such as Bartók. Teachers should treat these markings as expressive guides, not mere technical instructions.
Articulation: Pro Teaching Tips
Try these practical lesson ideas:
- Have students highlight all articulation symbols in different colours (staccato, legato, accents).
- Discuss how these markings change character (e.g. lyrical, playful or assertive)
- Compare left hand and right hand articulations (as in Sonatina I, bar. 9) to explore textural contrast and layered sound.
Expression and Dynamics
Chrétien’s Sonatinas are richly melodic, relying on subtle harmonic shifts and expressive dynamic contrasts.
Italian terms relating to tempo and character further encourage student involvement.
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Teachers can use Chrétien’s detailed markings to develop nuanced listening in students. For example:
- In Sonatina II, Minuetto, the repeated section (bar 17) shifts from mezzo forte to piano – an opportunity to practise dynamic layering and tone control.
- In Sonatina III, the reprise of the opening theme at bar 8 moves from mezzo forte to forte, illustrating contrast and climax.
Expression and Dynamics: Pro Teaching Tips
Encourage students to experiment with different touches (finger legato vs. arm weight) to achieve varied tone colours, and to record their playing to self-evaluate their dynamic range.
Dexterity and Technique
Marked Allegro or Allegretto, the outer movements of Chrétien’s piano sonatinas demand nimble fingerwork and clear articulation.
Dexterity and Technique: Pro Teaching Tips
Teachers may wish to assign short technical drills based on recurring figures, such as:
- Scales and arpeggios matching the key of each Sonatina.
- Short “mini etudes” based on imitation passages to improve hand independence.
- Alternating staccato and legato drills to prepare for rapid articulation contrasts.
The finale of Sonatina III (Allegro giocoso) has a sparkling, forward drive, particularly effective for teaching momentum and character – a delightful recital piece for the intermediate pianist.
The Reward of Teaching Refreshing Material
For teachers, Hedwige Chrétien’s piano sonatinas fall into the category of versatile teaching material written by women that reinforces form, phrasing, articulation and interpretation while exposing students to an often-neglected voice in 19th and early 20th century piano literature.
Charming, instructive and artistically fulfilling, Chrétien’s sonatinas deserve a renewed place in every studio and recital program.
What are your favourite sonatinas to teach?
Do you ever get bored teaching the same sonatinas over and over? Ready to give Chrétien’s a try? Let us know in the comments below.