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Hi guys!

I am currently learning m. clementi sonatina op 36. no 5. I don't actually like its dynamics so i changed it became more expressive and legato, more of chopin I think. But I feel I am disrespecting clementi because of it.

do you think its fine?

In my opinion, unless you are playing in public or for exams or something, you can play it any way it makes YOU happy.

I don't think Clementi will care.

+1

I tend to agree, but I will also say this: if your goal is to become a better pianist and musician, then one of your focal points should be on learning to play as many styles of music as you can, from baroque through modern. To do that, you must learn the style as the style was intended to be played. Otherwise, it would be like learning the words of a foreign language, but not the pronunciation. You're really only learning half of what you set out to learn.

This, with one caveat:

It's okay to change certain things in pieces...that's why we have many different interpretations for every piece out there.

However, I want to point out that this is for INTERPRETIVE purposes. It shouldn't end up being a crutch to play pieces that are too hard for you, which is what a lot of people end up doing. I don't think that's necessarily the case for the OP (as who in their right mind would choose Clementi Sonatina #5 for a piece to learn as something beyond their level?), but it is something to think about.

So always ALWAYS be able to play it the 'right' way first. If you can't play it right, then you can't actually play it. If you can play it right... well, the old adage goes something like "First learn the rules. Then break them."

At first this seemed a little harsh, but I assume what you mean is that until one can play something the right way, one cannot claim to be able to play it. (One can, however, perform it for themselves and other consenting adults?) The reason I'm interested is because I'd like to understand what level of perfection is necessary before I can claim, "I can play ...". How do I know when I am "playing it right"?

Yes, that is what I meant - as in, one can't claim to be able to play it.

Of course, one can choose any song and play it at whatever speed/quality they want to. But that's not really 'playing' it, often. Can't pick up the Winter Etude as your first piece and play it sixteenth note mm=50 and say you're playing it.

I don't think there is one answer to when you can claim whether you know something. If you think you know it, ask someone who will know whether you know it if they'll take a listen and let you know if you know it. Know what I mean ? I don't mean for it to be as clear-cut as it sounds, of course, but there are definitely varying levels of being able to play something that all count as being able to actually play it.

ETA: Remember, my post was directed to people who just grab a piece and change it IN ORDER TO ENABLE THEIR ABILITY TO PLAY IT. It doesn't have to do with interpretative changes or decisions, or even not having a piece perfected.

I think it's perfectly OK to play something wrong as long as you know it's wrong and not thinking that's how it's written and doing it wrong...if that makes sense. Chances are you're not playing for a bunch of stuffy music professors (apologies to all the stuffy music professors out there ), so play it how you like. If you ever play it for someone, just call it your own "arrangement" of a popular classical piano piece.

thanks guys and this clementi sonatina if actually fun to learn especially mvt 1. I will almost master the sonatina and ill give a beep when it's done.

Its quite a busy month I have.

Do as you please really in private... But make sure you understand how the 'right' way sounds and should be (like others said). Then do as you please. Learning the piano means being able to decipher the information in a score in front of you. If you can do that you're fine to do whatever you want with it later on. If you can't then you should focus on learning that first and the doing as you please...

I don't know that my teacher is aware of this actual quote, but if he were, it would be by far his favorite in his teaching method.

Thanks, everyone. As I considered my question over night, I came up with a definition that seems to agree with the responses you have given me.

You are playing a piece the right way if you can perform it for your intended audience and they don't laugh at you.

And of course, you can only claim to be able to play the piece to this audience of suitably impressed and somber people.

Well .....I think I would modify that just a bit ...

You are playing a piece the right way if you could perform it for the AUTHOR and he/she would not laugh at you.


After that, play it for any audience you like and you won't worry about what their reaction is.

Ouch! Now that is really setting the bar high.

Play the notes as printed with dynamics, articulation and phrasing that don't disagree with the score and then you'll hear what the composer is telling you. Then you can decide if you can say it a better way.

well said.

So until I can play a piece exactly as indicated by the score, I can't claim to be able to play it. OK. Got it. Thanks.

Still not quite there!

Until you can play a piece exactly as indicated by the score you can't claim to be able to play it exactly as indicated by the score.

The point is you should read or play what the composer wrote and understand what he's saying before you change it.

You can change it to make it easier if you like. You can change it because you don't like the way it's written. But you shouldn't change it before you've got the message.

I appreciate your patience in explaining this. I think I've now got the correct message.

Yes, I do think it’s fine.

There are countless ways of being a musician or being musical and the most important of these is to provide pleasure for yourself. If someone had dropped me a fiver every time I was persuaded to learn the rules before breaking them I’d probably by now be able to take a week’s vacation in a resort of my choice. It’s a principle I’ve consciously rejected without, I believe, coming to any harm.

Of course, there are countless musical objectives also and arguably the best route for some of these (e.g. 'excellence') would entail the systematic and disciplined approach discussed here. I can’t disagree with that (because I simply don’t know and I’m not nor will I ever be, nor am I aiming to be, ‘excellent’) but curiosity and experiment are parallel pleasures which can only be effectively served by doing one’s own thing. Not forgetting that doing one’s own thing can be a pleasure in itself. In any case, a destination can often be reached via several paths. An entirely formalised one might be unsuitable or less efficient for those with maverick instincts.

The inspectorate charged with examining the claim “I can play this” is another matter entirely – and not a particularly interesting one. I’m fairly sure Mrs. Tonic sets the bar quite low.