Phrase Analysis and Counting

There are several possible analyses for the phrasing of this waltz, but the author's analysis considers measures 2 through 9 as one phrase (some may consider measures 1-8 as one phrase, which is also acceptable). While a waltz is naturally in 3/4 time, when performing this waltz, one should recall Chopin's Scherzos. Although it is in 3/4 time, consider each measure as one beat, counting in 4/4 time. In this piece, count measures 2 through 5 as 1-2-3-4, and measures 6 through 9 also as 1-2-3-4. Similarly, continue counting in units of four measures.

Melodic Contour and Overall Structure

Considering measures 2-17 (16 measures) with such an analysis, these 16 measures can be thought of as four 4-beat phrases. Looking at the overall structure, from measure 2, the melodic contour follows an ascending line, gradually rising, and in measure 10, the phrase reaches its highest note, A. From this A in measure 10 onwards, it gradually descends, reaching an A one octave lower in measure 17.

Dynamics

Control this with dynamics. The beginning starts p, measures 6-9 should be louder than measures 2-5, reaching forte at measure 10, and then gradually diminuendo until measure 17.

Subsequent Melody and Key Change

From measure 18, the melody begins again, this time reaching B, a semitone higher than before, at measure 23. However, since this section modulates to B-flat major, it is not a particularly strong part in terms of the piece's atmosphere, so be careful not to make the B too prominent.

Left Hand Accompaniment

In this piece, the left-hand accompaniment is mostly arpeggiated, so the left hand should maintain balance as an accompaniment figure, providing only slight support when the right hand crescendos. However, measures 28-31 become melodic. Here, play melodically and expressively.

Ending

Conclude the piece slightly slower.