Musical example provided by: Ongaku no Tomo Sha

Understanding the Form

• The first half consists of three phrases: mm. 1-2, mm. 3-4, and mm. 5-8.
• The middle section consists of four phrases: mm. 9-10, mm. 11-12, mm. 13-14, and mm. 15-16.
• The second half consists of three phrases: mm. 17-18, mm. 19-20, and mm. 21-24.
• Coda: mm. 25-30.

Understanding Phrase Direction

Next, let's understand the "direction" of each phrase. Direction refers to which note a phrase moves towards or is led to, and it does not necessarily mean that the target note should be played with a louder dynamic.

• For mm. 1-2 and mm. 3-4, the fourth note is the goal note. For mm. 5-8, the first beat of m. 6 is the goal note.
• For mm. 9-10, mm. 11-12, mm. 13-14, and mm. 15-16, the fourth note of each phrase is the goal note.
• For mm. 17-18, mm. 19-20, and mm. 21-24, the direction is the same as in the first half.
• Coda (mm. 25-30): For mm. 25-26, mm. 27-28, and mm. 29-30, the fourth note of each respective phrase is the goal note.

Understanding Dynamics

Next, let's understand the dynamics.

1. First Half: Create dynamic differences between mm. 1-2, mm. 3-4, and mm. 5-8. Control the dynamics so that mm. 5-8 are the loudest. However, keep it within the p range and avoid making it too loud.

• Measure 6, with its suspensions and passing tones, becomes a very emotional and endearing section; express this fully. When teaching, play a version without suspensions or passing tones for students to hear.
• The last note of each phrase should be played with a "touching" sensation rather than a strong attack, never applying excessive force.

2. Middle Section: Make mm. 11-12 slightly louder than mm. 9-10. This is because the color must change in mm. 13-14.

From m. 17 onwards, be careful not to let the left hand become too loud. Also, be careful not to let the tempo accelerate at that point.

In m. 21, while the inner voices are important, the top voice is more crucial. In m. 24, a staccato is not necessary.

• This staccato should be interpreted as signifying the end of a phrase, serving to distinguish it from the next note.

In m. 27, since it's poco, do not apply too much ritenuto. In m. 30, play slowly, taking a little more time from m. 29.

General Performance Considerations

Analyzing the harmony of this piece reveals that sections with borrowed chords and non-harmonic tones are very emotional and sentimental. Play these sections with deep feeling.

• Examples: mm. 5-6, mm. 13-14, mm. 21-22.

Furthermore, it is crucial to avoid playing in a metronomic fashion (which can make it sound stiff), to prevent flat dynamics, and to always bring out the top voice in chords to highlight the melodic line.