Technical Considerations

It is crucial to play this piece with a delicate and light touch. Articulations such as staccato and legato are clearly notated in the score; these must be strictly observed. For notes without specific articulation markings, ensure they are held precisely for their full note value. For example, in the left hand of measure 1, the first and third beats are staccato, while the fourth beat has no marking, so it should be sustained for a quarter note's duration. The rest on the fifth beat must also be strictly observed. Pay close attention to all articulations written throughout this piece. Staccatos and legatos, such as those in the very last measure, should also be played exactly as written.

Musical Structure and Interpretation

From a musical perspective, this piece can be divided into two sections: measures 1-8 constitute the first half, and measures 9-16 the second half. These two sections are highly contrasting.

The first half features many staccatos, creating a light, bouncing, and elegant depiction. This section contains much material where two notes are slurred together, such as in measure 1, beats 4-5; measure 2, beats 1-2; and measure 2, beats 4-5. When playing these paired notes, always ensure the second note is softer than the first, and lift the finger briefly so the sound fades away.

In contrast, the second half is a section for rich, romantic singing. This is the author's personal opinion, but the author would use the pedal in the second half, as this allows the music to flow more horizontally. However, the right-hand melody contains many scales (stepwise motion), and excessive pedaling can lead to muddiness. The balance here is very delicate, so please consult with your teacher to determine the appropriate amount of pedal.

The last two measures of the second half briefly return to the character of the first half, so no pedal should be used here.