Musical example provided by: Ongaku no Tomo Sha

There are primarily two considerations when performing this piece: one is choreography (method of performance), and the other is pedaling. Choreography is a specialized and profound challenge, but when performing such an elegant piece, fluid, unhurried, and supple arm movements are required.

Choreography

Upon examining the score, it is in 4/4 time, with the left and right hands appearing alternately. There is no particular need to alter the left/right indications written in the score; it is perfectly acceptable to play as written. When a rest occurs, one hand takes over from the other, and at this point, the hand should be raised. While difficult to explain in writing, the aforementioned "fluid, unhurried, and supple arm movements" should be employed to achieve a visual effect. The audience (listeners/viewers) must never perceive any haste. The performance should convey a sense of unhurried grace and ample composure. This is the first point.

Pedaling

The second point concerns the use of the pedal. Fundamentally, the pedal should be depressed once per chord. If the chord changes, the pedal should be changed. For measures 1-2, the pedal should be sustained throughout each measure. Do not change it midway. Please refer to measure 3. This measure also consists of a single chord (C-E-G). The present author would sustain the pedal for the entire measure, but it is also permissible to depress it twice, for beats 1-2 and 3-4. The same applies to the subsequent measure.

Please refer to measure 5. The constituent chord is D-F#-A-C, which is a dominant seventh chord. However, a non-harmonic tone, B, which functions as a passing tone, is present here. This raises the issue of whether this will be noticeable if the pedal is sustained. The present author would sustain the pedal throughout the measure without concern, but if this presents a concern, one may change the pedal midway. However, doing so would result in the loss of the bass note on the first beat. Since the bass note occurs on the first beat, changing the pedal midway will automatically lead to its loss. Therefore, one may employ finger pedaling to sustain the left-hand note on the first beat. If the pedal is changed during this time, the bass will not be lost. Nevertheless, doing so would then compromise the choreography of the left hand (as the finger must remain on the key). It is recommended to sustain the pedal throughout the measure, accepting a slight degree of harmonic blurring.

Measure 6 presents a similar situation. Measure 7 has the same constituent notes, but it is slightly different. Here, by changing the pedal on the fourth beat, the harmonic blurring caused by the non-harmonic tone G between beats 2 and 3 can be resolved. In this instance, a bass note is present on the fourth beat, thus preventing the loss of the bass line.

Subsequently, please exercise your own judgment regarding pedal changes, adapting to the specific musical context.