7. "Eclogue"

The atmosphere of this piece changes considerably depending on the tempo. The tempo marking is Allegretto in 4/4 time. It is by no means a busy piece. It is recommended to set a tempo that allows for ample lyrical expression. The smallest note value in the accompaniment figures throughout the piece is the triplet. The performer should play the theme that appears in measure 57 along with the triplets, ensuring that the tempo at that point, which should not sound 'busy,' matches the opening tempo.

The Byron poem quoted at the beginning conveys a serene content, evoking the freshness and pleasantness of morning, as if the clouds are smiling, and as if no graves exist on Earth. What is required for this piece is beauty and lightness. However, if a fast tempo is chosen, for example, the 32nd notes that appear forte in measure 35 will become rough and provocative, and the left-hand arpeggios written throughout the piece will become difficult to play without considerable speed, and the speed of fast arpeggios will significantly alter the atmosphere of the piece. Please carefully consider the tempo setting.

The next issue is pedaling. For instance, looking at the first 12 measures, there are accompaniment figures in the left hand with tenths and other chords where inner voices are included within the tenth. And many arpeggio markings indicate situations where it is impossible to sustain the bass note fully with the fingers. If the pedal is changed at a timing that doesn't cut off the bass, muddiness will occur. I will explain how to avoid this.

Let's take the transition from measure 2 to measure 3 as an example. The trick is very simple: playing the soprano melody note and the bass simultaneously solves the problem. However, if the inner voice C in the left hand is played together with the melody, the bass must naturally be struck before it, resulting in either 'muddiness' or 'disconnection'. Therefore, if the inner voice C is played after the first beat notes (bass and soprano) are struck, all problems are resolved. Subsequently, all pedal muddiness should be avoided using the same method.

In measure 36, forte appears for the first time in this piece, but there is a 'sempre dolce' marking from measure 26. Consider this forte not as a sharp, loud, or harsh forte, but rather as a gentle forte that engages in an alternating dialogue with the 'p' waiting on the fourth beat.

This piece does not particularly require improvisational rubato, and it is fine for it to proceed steadily. However, to avoid it becoming busy, allow ample time for lyrical expression and perform it gently.