It is not too difficult to identify where the melody line is in this piece. It is in the right hand for measures 1-4, left hand for measures 5-6, right hand for measures 7-8, right hand for measures 9-12, left hand for measures 13-14, and right hand for measures 15-16. Ensure the melody line stands out more than the accompaniment.

Regarding the accompaniment, the chords written as whole notes or half notes should be played with as little attack as possible, flowing smoothly without breaks. Ideally, the pedal would be used to avoid breaks between chords, but for children who cannot use the pedal, they should connect the notes with their fingers as much as possible. Be careful not to cut off the notes shorter than their written duration.

Regarding dynamics, the forte written in measure 5 should be interpreted as subito. Therefore, measure 4 should end with piano on the fourth beat as well. Between measures 9-12, clearly differentiate between mezzo forte and piano.

Line Shaping

For the following notes, be sure not to add an accent; let them fade away:

• C in the right hand on the first beat of measure 4
• C in the right hand on the first beat of measure 8
• C in the right hand on the first beat of measure 10
• C in the right hand on the first beat of measure 12
• C in the right hand on the first beat of measure 16