General Playing Instructions

This piece must flow horizontally. However, the left-hand accompaniment, written in eighth notes in almost every measure, tends to create a strong pulse, often resulting in a vertically segmented musical texture. In such pieces, balance becomes a crucial issue (the balance of volume between the left and right hands). Naturally, the left hand should be played as softly as possible to allow the right hand to stand out. The left hand, however, also includes the bass line, so be aware of the bass notes (they do not always fall on the first or third beats; as in measures 10 and 11, they can sometimes occur on the off-beat of the second beat).

Sectional Analysis

Next, let's understand the sections of this piece. Broadly speaking, it is in ABA form. Let's identify the locations of A and B. A is from measures 1 to 25. B is from measures 26 to 49, and from measure 50, it returns to A. A can be divided into measures 1-16 (A-1) and 17-25 (A-2).

Detailed Analysis of A Sections

A-1 is further divided into two parts:

• Tension builds in measures 10-11. Play in a way that leads to this point. From the third beat of measure 11, release the tension and enter measure 12. This is the first part.
• The second part is from measure 12 to 16. Since it modulates to C-sharp minor this time, the second section has even higher tension. As some of you may have already noticed, these A section phrases are characterized by a build-up of tension towards the end, preparing for the next modulating section.

In other words, although tension builds in measure 11, it returns to A minor, so this part proceeds calmly. However, measure 16 is just before a modulation, so the tension remains high and transitions into the next section. The last measure of A-2 is measure 25, but looking at measure 26, it modulates to G minor. Therefore, the tension in measure 25 also remains high, connecting to the next section.

B Section: Canon and Inner Voices

In the B section, from measure 31, it becomes a canon. Although not a strict canon, if the performer clearly brings out the voice that follows belatedly, it becomes easier to understand for the listener. The canon ends at measure 39, but from measure 42, inner voices are added again. In the B section, the canonic voices and inner voices are passed from the left hand to the right, or from the right hand to the left; such passages tend to be played mechanically. Always shape the voices in a logical manner.

Specific Techniques

In measure 66, pizzicato, like that of a double bass, enters. Sustain the whole note with the sostenuto pedal (middle pedal), and then play the bass notes short and staccato.